‘the battle between the animal and the spiritual’
DJ David Jensen interviewed David Sylvian on a number of occasions in the early ’80s for his evening show on BBC Radio One. By the time Gone to Earth was approaching release, Jensen had moved on to a rival station, Capital Radio, so it was there that the pair would reunite to discuss what the new album might promise. Judging by what he had read in Virgin’s press release, Jensen predicted that ‘it’s sufficiently different from your last albums to again surprise a lot of people.’ Sylvian was more measured in response, ‘In a way for me it’s an extension of a lot of the work I did on Brilliant Trees, so I wouldn’t say it was extremely diverse in nature – but there should be a few surprises on there.’
Continue reading “Before the Bullfight”
‘capturing moments in time’
The collection of songs that came together to form disc one of Gone to Earth was created in two distinct phases. David Sylvian first spent time developing a trio of tracks that he anticipated would form part of a release alongside ‘Steel Cathedrals’ or ‘Words with the Shaman’. These were ‘Laughter and Forgetting’, ‘Before the Bullfight’ and the track first known as ‘Saints and Sheep’ which ultimately found life as ‘Wave’.
Continue reading “Taking the Veil”
In 1983 the cassette-based magazine Audio Arts published a supplement capturing radical German artist Joseph Beuys in conversation with both the magazine’s founder William Furlong and Michael Newman. The recording was made at London’s Victoria & Albert Museum on the occasion of an exhibition of Beuys’ drawings. The artist, then in his early sixties, quickly widens the discussion to his ‘goals’: ‘I decided in my life not to become a physicist but to try to make an experience with the Arts; to widen understanding of the Arts, to become able to change the social order..’ Science, whilst being highly developed so as to render us ‘even able to fly to outer-terrestrial planets,’ is however unable to make clear ‘what it means to be a human being and what the inner goal of life on earth would mean, and what would be the highest quality for the life of the different peoples on earth, and how they could overcome their inner frustration, and how they could overcome the alienation of their working places. So, in being directed to bring a wider understanding of art which is related to everybody’s labour, on every existing working place, it is on the point where it touches the economical system.’ Continue reading “The Healing Place”
I was at university in London in the mid-1980s, and my primary connection to what was happening in the world of the ex-members of Japan was the fanzine Bamboo. I would eagerly anticipate each new issue, taking a walk after lectures to the Virgin megastore on Tottenham Court Road to check whether they might have a new issue in stock. If in luck, I’d hop on the bus back to Denmark Hill, make a coffee and sit in the one easy chair in my student accommodation to devour the content from cover to cover. The full set of these A5 volumes still sits proudly in my music cabinet at home – and if any of the dedicated band of instigators and contributors should read this, then please accept grateful thanks for being a lifeline to fans in those days before the information superhighway.
Continue reading “Wave”
Brief airy atmospherics and then immediately, the voice.
‘Running like a horse between the trees
The ground beneath my feet
Gives me something to hold onto’
‘Laughter and Forgetting’ picks up from the theme of the song ‘Brilliant Trees’. Here, though, joy and optimism are more unreserved. ‘Brilliant Trees’ captures the faltering of conventional religious faith, yet transforming love is found in another’s eyes. In ‘Laughter and Forgetting’ the sense of loss is not so acute as Sylvian again uses imagery from nature to express a joie de vivre that I find uplifting and alluring.
Continue reading “Laughter and Forgetting”