1991 – Rain Tree Crow

Big Wheels in Shanty Town

‘an epic track’

‘Virgin were ecstatic when they heard the news from an equally ecstatic Richard Chadwick,’ said Mick Karn of the decision for himself and ex-Japan band-mates Sylvian, Jansen & Barbieri to come back together, ‘and within days came up with an amount for recording that made us ecstatic. None of us had ever seen such a large sum for recording before. And what’s more, once lawyers had prepared the contracts and suggested we have accountants carry out an audit on Virgin, they hastily sent us a substantial cheque each for Japan videos…

‘The four of us set forth on a driving holiday through Italy for a week in June 1989, to research some of the available residential studios we’d been considering. The budget would go a long way if we were careful, and the trip enabled us to spend time together bonding, and for me to show off my Italian as band translator. We decided on a studio Steve and Rich had already used, Condulmer, near Venice, and planned to be there for a month in November after starting the project in the south of France in Miraval for five weeks at the beginning of September.’

Blackwater

‘the possibility of new life’

The story of the ‘reformation’ of Japan (or to be accurate, of the four members who created the band’s final studio album, Tin Drum) was something that I followed in real time through the pages of the fanzine Bamboo. The first hint of such momentous news was contained in the Summer 1989 edition and almost comically understated, undoubtedly because the situation developed whilst the print publication was being finalised.

Blackcrow Hits Shoe Shine City

‘this dark emotional experience personified’

As the sun set on an artistically fruitful 1980s and a new decade dawned, collaborative projects would be the primary outlet for David Sylvian. ‘For the past almost three or four years, I’ve being going through quite a powerful emotional change in my life and it took me a long time to come to terms with what was happening. So I thought, rather than just slogging away without getting to grips with it, I should perhaps collaborate and allow myself to work more on the spur of the moment,’ he explained in 1991, as the eagerly awaited reunion project of the former members of Japan – Rain Tree Crow – was first shared with an intrigued audience.

New Moon at Red Deer Wallow

‘One of the strangest tracks’

Following their excursion into commercial pop territory with The Dolphin Brothers, Steve Jansen and Richard Barbieri’s next joint project was set to take a very different direction. ‘We try to alternate our recordings in terms of types of album,’ explained Jansen. ‘Our first album [Worlds in a Small Room] was instrumental, the next vocal; so this should have been instrumental. Also, the record company weren’t budgeting enough for a vocal album, which requires studio time. If they had said, “do another vocal album, here’s the budget,” we’d have done it. But we were quite happy not to.’

Red Earth (as summertime ends)

‘A completely different approach and feel’

It seems that there were certain aspects of being in a band that David Sylvian felt liberated from after Japan split up, but there were others that he missed almost immediately when setting out as a solo artist.

In 1986, just after the release of his second solo album Gone to Earth, he explained that his desire for musicians from a jazz background to perform on his records ‘came out of the frustration of working within a band like Japan which was studio-bound. Nothing was improvised except in rehearsals when you are putting the track together. Going into the studio everything was well prepared and you really knew what you were doing, and it was only a matter of sound you were working with. So, when Japan split up I wanted to get into something that had a bit more life to it, a bit more spontaneity to it.’

As mentioned in this recent article, David Sylvian was instrumental in the publication of Harold Budd’s first book of poetry – Colorful Fortune.

A small number of copies are available direct from Keith Lowe (bass player on Nine Horses and on stage with David Sylvian, who published the book), priced at US$35 plus shipping. There are also a handful of copies signed by Harold, priced at US$125 plus shipping. Each book comes with a small promotional card. Contact moonlinermusic@mac.com for more information.

Further information sometimes comes to light after an article is published. The following pieces have recently been updated with new material:

June 2026
The Ink in the Well – added additional quotes from Danny Thompson and Peter Williams.
Nostalgia – added quote from Steve Jansen about the demo of the song.
Brilliant Trees – added date of Jon Hassell’s session from his diaries.
Ancient Evening – Incantation – added date of Jon Hassell’s session from his diaries.
Heartbeat (Tainai Kaiki II) – added insight from David Sylvian that Bill Frisell’s solo was from a single take.

The recent reissues of David Sylvian’s early solo albums on coloured vinyl sold out quickly.

All were repressed and re-released on 19 December 2025.

Brilliant Trees – burningshed

Alchemy – official store

Gone to Earth – official store

Secrets of the Beehive – official store

Lucrecia’s album A Danger to Ourselves was released in September 2025. All tracks produced by Lucrecia Dalt & David Sylvian, mixed by David Sylvian.

Sylvian also contributes vocal and feedback guitar to ‘Cosa Rara’ and electric guitar solo for ‘Covenstead Blues’:

Second edition repress of ‘Cosa Rara (feat. David Sylvian)’ with alternative artwork. Note that this vinyl also contains an extended mix of the ‘dopamine dub’ by Matias Aguayo, featuring David Sylvian (i.e. a different version from the first single release):