Robert Fripp – Page 2

Gone to Earth

‘the spirit coming down and taking physical form’

In 1986 the oncoming age of downloads and streaming which would reduce the impact of album cover art to that of a mere thumbnail was way beyond comprehension. The cd was rising in popularity but was still a minority format, certainly beyond my student budget at the time. When David Sylvian’s Gone to Earth was released, LP sleeves were an art form in themselves, especially the glorious expanse of the gatefold. There was something so tangible and satisfying about holding and studying the record cover as the vinyl spun on your treasured hi-fi. For the duration of a side of music you were settled in one place, enjoying the full package that the artist presented.

Darshan (translucent remix by The Grid)

‘atmospheric, ambient and electronic’

It was at The Royal Albert Hall in London in December 1993 that I became aware that there was to be a mini-album release by Sylvian/Fripp, Darshan. This would be the only occasion that I would see David Sylvian and Robert Fripp share the stage, their earlier touring incarnation in a trio with Trey Gunn never having visited the UK. As we took our place in the stalls, full of anticipation for the first of two London shows on The Road to Graceland tour, set on each seat was a postcard announcing the new release – which would be in the shops the following week!

Redemption

Approaching Silence

In 1989 a new building was opened for the Tochoji Zen Temple in Yotsuya, Tokyo. Initially established in 1594, the modern development was commissioned under the design of Takashi Serizawa to commemorate the Temple’s 400th anniversary. By now situated just minutes away from the Tokyo Metro amidst the bustle of modern Japanese urban life and commerce, the new complex skilfully combined modern design with a traditional aesthetic. Uniquely, Serizawa incorporated a basement auditorium within the layout and devised a plan for temple activities to be expanded to include cultural projects, particularly in the arena of contemporary art. Soon afterwards this basement venue was officially named ‘P3 art and environment’.

God’s Monkey

‘the blindness, the absolute darkness’

For the music of Sylvian/Fripp there would be a move away from the vocalist’s long-standing studio partner. Steve Nye had been involved as producer, engineer or mixer from Japan’s Tin Drum, throughout Sylvian’s trio of solo albums and onto Rain Tree Crow’s eponymous release in 1991. ‘I had a desire to go into another sonic area,’ explained the singer. ‘I love the warmth and beauty of the tones that Steve gets. Steve also used to give me a lot of feedback on the way I arranged things. But as I have continued to develop, it just seemed natural to move away. We’d exhausted our relationship to some degree. We might work together again, but for now I enjoy working with different engineers and co-producers.’

The Banality of Evil

‘a more unpredictable approach’

Robert Fripp’s online diary, 20th October 2004:
‘Today’s work in London is a recording session for David Sylvian’s new solo album. Eden Studios is conveniently just around the corner from the bijou Chateau de Petite Chevalle [an affectionate reference to the Willcox/Fripp residence in Chiswick, just north of the Thames in London].

Today’s session: for me, a treat. David & his brother Steve were both waiting when I arrived…’

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):