The Greatest Living Englishman

‘a creative act of erasure’

In 2003, Clive Bell (who would later feature with David Sylvian on recordings such as When Loud Weather Buffeted Naoshima and the Twinkle³ project Upon This Fleeting Dream) visited Tokyo for The Wire magazine to investigate a newly-emerged music scene, and to attend one venue in particular – Off Site. Bell’s in-depth report describes the location. ‘As you leave Yoyogi station in Tokyo, the 60-odd storeys of the NTT DoCoMo skyscraper loom high above you…Like the offspring of a thunderous mating between the Empire State Building and Big Ben, the tower features a spire, glowing green lights in recesses, and a colossal clock lit up in white.’ Incongruously, Off Site is just 50 metres away, ‘one of a row of old, highly ordinary houses somehow clinging on in the shadow of Shinjuku’s skyscrapers. These are flimsy constructions of wood and plaster. Inside, Atsuhiro Ito and his wife have converted their house into a spartan gallery and performance space on the ground floor, seating about 50 maximum, and, upstairs, a welcoming cafe which also functions as a book and record shop.’

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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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Song

Last words

The first time I heard Franz Wright’s voice I had no idea of the identity of the speaker. It was 7 September 2013 and the premiere of The Kilowatt Hour, a trio of Christian Fennesz, Stephan Mathieu and David Sylvian, taking place at the Punkt Festival in Kristiansand, Norway. The venue was the main screen at the local cinema: the sound system powerful and detailed, the acoustics perfect.

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Wintersleep – The Wall

‘bearing witness to what’s real’

‘I was pretty well-read by the time I was fourteen, but it never occurred to me to write. I was interested in being a musician or a scientist. Then something happened when I was about fifteen…In the summer my mother and step-father and I used to go to Clear Lake, California, up above Napa Valley. I woke up early one morning and had a strange feeling. I took a walk around dawn out into a walnut orchard, and I sat down. This ecstasy came over me, and I started to write. I ended up writing a seven-line poem. I sent it off to my dad, and we started corresponding about it. It was clear to me that I had to have this sensation again. I had never felt anything like this. I felt that this was what I was supposed to do.

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