Jan Bang - Vista

I Measure Every Grief I Meet

‘a piercing Comfort it affords’

I have written before on this site about the impact of attending the Punkt festival in Kristiansand, Norway, for the first time in 2011, drawn there by David Sylvian’s involvement as Artist in Residence. There were so many first experiences, hearing musicians play live whose work I have subsequently taken time to explore and which I have found to be tremendously enriching. On the opening evening alone there was Arve Henriksen, John Tilbury, Evan Parker, Sidsel Endresen and Philip Jeck. All gave performances in an art gallery surrounded by David Sylvian and Atsushi Fukui’s installation Uncommon Deities. Recorded readings by Sylvian and live recitations of the Norwegian originals by both Paal-Helge Haugen and Nils Christian Moe-Repstad were interspersed with the music, Sylvian observing proceedings from the sound desk at the rear of the space. What a line up to have in one room.

‘Philip Jeck studied visual art in the 1970s and has been creating sound with record-players since the early ’80s,’ read the introductory artist biography in the festival brochure, ‘working with many theatre and dance companies and playing with musicians/composers such as Jah Wobble, Steve Lacy, Christian Fennesz and Gavin Bryars. He has released nine solo albums, the most recent An Ark for the Listener on the Touch label…In 2009 he received a Paul Hamlyn Artists Award for Composers and in 2011 a Prix Ars Electronic Award of Distinction.’

Do You Know Me Now?

‘something was lost somehow’

English artist Phil Collins was a nominee for the prestigious Turner Prize in 2006. The Tate Gallery website offers an insight into his work in the supporting text for his exhibit: ‘Phil Collins often operates within forms of low-budget television and reportage-style documentary to address the discrepancy between reality and its representations. In his projects, Collins creates unpredictable situations and his irreverent and intimate engagement with his subjects – a process he describes as “a cycle of no redemption” – is as important for his practice as the final presentation in the gallery.’

I Swallowed Earth for This

‘a supernova on a petal’

Spoken word has provided a rich seam within David Sylvian’s work over the last decade or so. He has vocalised the writing of some fascinating authors, from the poems of Arseny Tarkovsky for Ryuichi Sakamoto’s performance at the Concert for Japan and ‘Life, Life’ featured on his master-work async, to an extract from In the Solitude of Cotton Fields by playwright Bernard-Marie Koltès for a collaboration with Mark Wastell and Rhodri Davies released as There is No Love; from the descriptions of a myriad of lesser gods by Paal-Helge Haugen on Uncommon Deities, to Japanese haiku and death poems written by Buddhist priests for the Twinkle³ album Upon this Fleeting Dream. Indeed, at the time of writing this article Sylvian has just added to the canon by reciting Emily Dickinson’s poem ‘I Measure Every Grief I Meet’ for a collaboration with Icelandic cellist and film-score composer Hildur Guðnadóttir (link in footnotes).

The God of Single Cell Organisms

‘the muscle that connects me with the world’

Two voices share the listener’s focus on the opening track of Uncommon Deities, Jan Bang and Erik Honoré’s reimagination of the audio-visual installation of the same name staged at their Punkt Festival in 2011. First, David Sylvian reads Paal-Helge Haugen’s poem ‘The God of Single Cell Organisms’ in English translation, his precise diction crisply conveying the poet’s characterisation of a forgotten lesser deity who ‘in his impotence…seeks refuge among the microbes.’ As we grapple with the concept of a god who is so insignificant that ‘we cannot find him there, with our immense microscopes,’ a tight burst of bowed strings serves as the introduction to the second voice.

Playing the Schoolhouse

‘sensitivity to time within space’

From 30 November to 2 December 2016 a symposium entitled On the Edge was staged in Oslo, Norway. Whilst David Sylvian was not present at the event, his influence on the proceedings was significant. The programme was created by Ivar Grydeland, a musician who works in the field of improvisation and a member of the groups Huntsville and Dans les Abres, the latter’s eponymous debut album having been released on the ECM label in 2008.

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):

UPDATES

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

March 2026
A Fire in the Forest – added quote from David Sylvian about the imagery of the forest fire.
p:Machinery – added quote from Holly Johnson about being around the studio with Propaganda and David Sylvian.
The Ink in the Well – added quote from Anton Corbijn about the video.
Red Guitar – added quote from engineer Peter Williams about introducing Mark Isham to the sessions and recording him for Brilliant Trees. Also added quote from Anton Corbijn about the video.