It was on 18 February 2003 that Derek Bailey entered the Moat recording studios in London’s North Kensington to record a session of solo acoustic and electric guitar at the invitation of David Sylvian. ‘I spoke to him for about fifteen minutes on the phone after which he was onboard,’ remembered Sylvian. ‘I told him I wanted to be challenged as a vocalist and he said, “that I can do for you”.’ (2011)
Continue reading “The Good Son – She is Not”
‘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.
Continue reading “Playing the Schoolhouse”
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.
Continue reading “Snow White in Appalachia”
Manafon. Manafon? What could it mean? Scurrying to a search engine it was soon discovered that David Sylvian’s new album was named after a small rural community located in the hills of Montgomeryshire, the northern part of the Welsh county of Powys. But that just raised more questions! Why?! Continue reading “Manafon”