When Loud Weather Buffeted Naoshima

‘musique concrète meets Foley artist’

In a 2010 interview, David Sylvian was asked to identify how his experience of the East had influenced him as a human being. ‘I think it affected me in ways that have been so completely absorbed and assimilated that it’s hard for me to comprehend the degree to which I’ve been influenced by my engagement with Eastern culture,’ was the preface to his reply. ‘I might point to the influence of Zen Buddhism and, to a lesser extent, Shintoism and the guiding roles they’ve played in my personal evolution. The beautiful artifice of popular culture and the mutability of persona. The embrace of one’s masculinity and femininity on equal terms, without conflict.

‘Then there are the friendships which grew over time with Japanese artists, musicians, composers, all of whom hold an important place in my heart. Musicians and collaborators such as Ryuichi Sakamoto, Toru Takemitsu, Otomo Yoshihide, Toshimaru Nakamura and, more recently, Dai Fujikura. Visual artists such as Shinro Ohtake, Shinya Fujiwara and Atsushi Fukui. I found a compatible aesthetic in many aspects of their work, particularly with Ryuichi, which reflected my own. I found a community of contemporaries in Japan which I failed to find in my own homeland.’

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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.

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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.’

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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.

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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.

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