Merry Birthday, Mr. Sylvian. After graduating from the avant-rock finishing school that was Japan, Sylvian spent the '90s redefining the role of the singer-songwriter. On each of his solo releases he's demonstrated increasingly more adventurous sonic experimentalism, all the while developing his songcraft and production skills. DEAD BEES ON A CAKE is the culmination of all his previous efforts, offering a perfect blend of unconventionality and accessibility.
David Sylvian first collaborated with American poet Franz Wright's voice in the Kilowatt Hour live project with Christian Fennesz and Stephan Mathieu. On There's a Light That Enters Houses with No Other House in Sight, the writer appears again, but in an almost entirely different musical context. Fennesz returns and pianist John Tilbury, Otomo Yoshide, and Toshimaru Nakamura provide significant assistance. A single 64-minute work, Sylvian's composition features the Pulitzer Prize-winning poet reading from his collection of prose poems Kindertotenwald. (It literally translates as "Children Dead Forest," yet given Wright's well-documented volunteer work with children stricken by grief, "Children of the Dead Forest" might be more appropriate.)
First album released on David's Samadhi Sound label. An impromptu suite of songs for guitar, electronics and voice. An emotionally raw, minimal work, of immediacy and stark beauty with outstanding contributions from Derek Bailey and Christian Fennesz.
The leadoff single for David Sylvian's 1999 album (and his first solo release in a decade) "Dead Bees on a Cake", "I Surrender" was released in two parts, each augmented by two b-sides featuring vocals by Sylvian's then wife Ingrid Chavez. The four tracks were originally recorded in the mid 1990s for an album to be released under Chavez's name titled "Little Girls With 99 Lives". This material is a bit of an oddity, having been leaked to the Sylvian fan community long prior to release, there was concern that Sylvian had abanondoned singing as his vocal is barely present, but the project was evidentally intended to be a Chavez release, as such it makes sense that it would feature her vocals…
Pretty good single from pretty good album "Dead Bees on a Cake". Sylvian's solo career balances new-agey pretentiousness with truly affecting minimalism and instrumentation. Here, he somewhat returns to pop, and it works.
There's an old saying that one is only as good as the people with whom one collaborates. Judging by the list of musical contributors to Hector Zazou's Sahara Blue, Zazou is quite good indeed. Among many others, those adding their own touch to Zazou's album include Bill Laswell, Dead Can Dance, John Cale, David Sylvian, Ryuichi Sakamoto, and Tim Simenon. Zazou devised the album as a mix of musical styles set to lyrics/vocals taken from the pen of Arthur Rimbaud. While it might appear like a pretentious undertaking on paper, the album is a cohesive slice of eclectic music-making. Jazzy spoken word songs such as "Ophelie" intermingle with throbbing dance-oriented numbers like "I'll Strangle You" and quiet, peaceful piano-based meditations such as "Harar et les Gallas." Dead Can Dance duo Brendan Perry and Lisa Gerrard work their particular magic on "Youth," exchanging vocals, and on "Black Stream," where Perry's dark, somber synth weeps around Gerrard's stunning vocals and yang chin. Zazou himself mostly stays in the background, providing production and electronic sounds, allowing the players to showcase their abilities.
The early 80's is now a quarter of a century ago! Whilst there have been many 80's compilations we feel now is a good time to release an `edgier', cooler tracklisting highlighting some of the artists and tracks that may not be as familiar, but still defined the times. Many of these tracks have only previously been available on vinyl. "Great mix of eighties music that goes that little bit deeper then the usual eighties collection. A mix of classic eighties and the obscure. I would strongly recommend this to anyone who wants to relive that eighties feeling".