Christian Fennesz

World Citizen (I Won’t Be Disappointed)

‘a conscience that will keep me wide awake’

In 2002 Haruomi Hosono and Yukihiro Takahashi joined forces to form a new duo outfit which they dubbed Sketch Show. It was a surprise move that delighted fans of Yellow Magic Orchestra. In particular, the project tempted Hosono back into pop territory that he had rarely inhabited since the intense but relatively brief YMO heyday from their 1978 eponymous debut to 1983’s Service.

Small Metal Gods – Random Acts of Senseless Violence – variations

‘fascinatingly original and protean’

‘Died in the Wool came about in an incremental fashion,’ said David Sylvian of his 2011 double-cd set containing “variations” of tracks from 2009’s Manafon alongside a number of new pieces. ‘Wheels were unintentionally put into motion whilst I was still working on Manafon. I’d met Dai [Fujikura] in London, where he’d expressed a desire to work together. We’d continued an in-depth conversation via email regarding potential future projects. At some point it seemed like a good idea to test the water to see if we were speaking the same language.’

Emily Dickinson

‘very intimate and revealing’

‘If we’re interested in improvisation, then that suggests that we’re not quite sure what music is. We’ve got some idea but we’d like to find out. So every time we play, “what music is” is open to a certain freedom of discovery, open to question. The possibility of being surprised by oneself or by the situation – that is what we hope for.’ These are the thoughts of Evan Parker, eminent free improvising saxophone player since the 1960s, decades during which he practically reinvented the playing technique of his instrument and in so doing created a new language of sound.

A Fire in the Forest

‘a lullaby for neurotics’

UK music magazine The Wire runs a regular feature whereby a series of tracks is played to a guest who is challenged to identify both artist and music, with the ensuing conversation a launch-pad for discussion of artistic trends, innovation and influences. In June 2003, it was the turn of David Sylvian to encounter the ‘Invisible Jukebox’. Included in the music presented to Sylvian was a track with which he was familiar. ‘Is it Christian [Fennesz]?’ he asked. ‘It’s the title track from Endless Summer,’ came the confirmation of his inquisitor.

Snow White in Appalachia

Mining for gold

In 2004, David Sylvian entered Christoph Amann’s studios in Vienna for the initial sessions that would surface on Manafon some five years later. In reality, though, this wasn’t the beginning. The concept was to expand the approach of responding to freely improvised music through his own automatic writing, pioneered with such impact on Blemish. This time around the musical improvisations would not be Sylvian’s own, nor the output of a solo performer as was the case with Derek Bailey, but rather the result of the chemistry between small constellations of artists proficient in the field.

REPRESS OF COLOURED VINYLS

OUT NOW FROM LUCRECIA DALT feat. DAVID SYLVIAN

Lucrecia’s new album A Danger to Ourselves is out now. 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):