‘a masterclass in synth programming’
In March 1980 Japan headed for the country of their band-name, embarking on a tour to support the Quiet Life album. Mick Karn later recalled how their travel was, ‘more often than not, by Shinkansen, the luxuriously smooth bullet train.. ..It was on one such journey I heard a cassette that was being circulated amongst the band, on my Walkman, the latest invention from Sony. Electronic music was the future, Kraftwerk were already a favourite, but there was something different about this band. YMO were the perfect accompaniment to the speeding scenery outside, it was one of those moments when music and visuals became one, quite by accident, and somehow captured the very spirit of Japan. We couldn’t believe that no-one had heard of them abroad.’ (2009) Continue reading “Taking Islands in Africa”
I find it amazing how listening to a piece of music can take you back to a specific time and place. I can remember exactly where I was when I first heard ‘Let the Happiness In’. It was my first year in work after university, which involved taking a number of one week courses in Birmingham (UK), staying away from home. September 1987, Sylvian’s new single was coming out and I would be in Birmingham. I had to get my hands on a copy so, when the classes had finished on the day of release, I headed straight for one of the large record stores in town. As I climbed to the first floor, that introduction came over the powerful sound system… It caught my attention although I didn’t know what it was until the vocal started. Realising this was the new song I stood and listened to it for the first time, then grabbed my copy of the 12″ single (still an absolute favourite with the ‘Buoy’ remix and gem ‘Blue of Noon’ on the b-side) and headed out, prize in hand.
Continue reading “Let the Happiness In”
When David Sylvian entered Berlin’s Hansa studios in the summer of 1983 to start putting together his debut solo album, Brilliant Trees, amongst his top priorities was returning to the recent chart success ‘Forbidden Colours’, in which his vocal melody was interweaved with Ryuichi Sakamoto’s soundtrack theme for Merry Christmas Mr Lawrence. The intent of this was not to lend some familiarity and commercial impetus to the new release, but rather to re-work the composition from a new musical palette. It was also recognition that in this song, Sylvian found his voice for the new chapter. Continue reading “Forbidden Colours (version)”
‘A completely different approach and feel’
It seems that there were certain aspects of being in a band that David Sylvian felt liberated from after Japan split up, but there were others that he missed almost immediately when setting out as a solo artist.
In 1986, just after the release of his second solo album Gone to Earth, he explained that his desire for musicians from a jazz background to perform on his records ‘came out of the frustration of working within a band like Japan which was studio-bound. Nothing was improvised except in rehearsals when you are putting the track together. Going into the studio everything was well prepared and you really knew what you were doing, and it was only a matter of sound you were working with. So, when Japan split up I wanted to get into something that had a bit more life to it, a bit more spontaneity to it.’ Continue reading “Red Earth (as summertime ends)”
Steve Jansen was a part of samadhisound from the start. He helped to develop the new label’s studio after David Sylvian relocated from California to the mountains of New Hampshire. Together the brothers explored the possibilities of the latest recording technology, and in 2002 they began to fashion compositions that would ultimately be part of the Nine Horses release. Steve even relocated for a year with his family to the remote former ashram site that was now home to Sylvian, his wife Ingrid Chavez and their children. As Sylvian took a six-week break to record Blemish, Jansen turned his attentions to evolving material for a debut release under his own name.
Continue reading “Playground Martyrs”