Transcripts

by Anton Rush

The Art Of Noise by Ian Birch (Smash Hits, May 1984) What’s David Sylvian been doing since Japan broke up? Taking Polaroids, traveling, organizing an exhibition — oh and making a new record. “Art is my means of expression.” he tells Ian Birch.

This brilliant carreer by Steve Sutherland This interview with David Sylvian is taken from the Melody Maker and was first printed in the UK on 12th May 1984

David Sylvian: Portrait of an artist by Ian Birsch

by Dave Rimmer Having spent over five years behind a thick layer of make-up, David Sylvian has emerged from the cocoon of Pop Celebrity to make a butterfly foray into the avant-garde. His new work lies somewhere between wallpaper and revolution. But nobody seems quite sure.

Interview by Tim Goodyer. Fotography by Martin Goddard. (E&MM, Sept. 1986) As well as gaining artistic credibility since leaving Japan. David Sylvian has inspired musicians with his ability to fuse traditional ethnic and hi-tech elements into a moving and unique brand of music. A new single, ‘Taking the Veil’, is the prelude to a double album that explores both Sylvian’s songwriting

Interview by Laurie Lewis with David Sylvian as published in SOUNDS (UK), September 27 1986.As DAVID SYLVIAN settles into the quiet life of solo status, CHRIS ROBERTS appraises the significant stature of his post-Japan harmonics and post-mascara beauty. Gentleman in Polaroid by LAURIE LEWIS

Inexorably Sylvian by Nile Larsen (Details, April 1988)

by Richard Cook

by Mark Prendergast Originally published in two parts; Record Collector April and May 1990.

Since DAVID SYLVIAN split Japan at their zenith nearly a decade ago his fans have been praying they’d got back together. And now they have, under the name of RAIN TREE CROW. STEVE SUTHERLAND meets Sylvian to discover the impetus behind the band’s re-emergence.

Exorcising Ghosts (Rain Tree Crow) by Mark J. Prendergast (Lime Lizard, May 1991) From surrealist parrots to the japan reunion, Mark J. Prendergast gets ambient with David Sylvian who explains why it’s o.k. to shout insults at bricks.

Rain Tree Crow" by Nigel Humberstone (SOUND ON SOUND, June '91)

Spurning Japanese by Simon Dudfield and A.J. Barratt (NME, Sep. 1991) David Sylvian has little time for his last group, glam rockers made good JAPAN, so why has he chosen to team up with his old cohorts again as ambient moodies Rain Tree Crow? Simon Dudfield puts it down to the peculiar flight path of `true art’. Seconding that emulsion:

by Sue Peters

Sylvian’s Fripperies by Steve Malins (Vox, July 1993) David Sylvian and Robert Fripp have combined forces to produce a new album, The First Time , but collaboration for the former Japan frontman and “aggressive perfectionist” hasn’t always run smoothly.

by Josef Woodard

SYLVIAN / FRIPP by Steve Holtje (Creem Magazine September ’93) “There is no one structure which is universally appropriate,” wrote Robert Fripp in the liner notes to his 1981 album, Let the Power Fall. That bit of wisdom goes a long way towards explaining the far-ranging careers of both Fripp and David Sylvian. Both are respected musicians whose reputations were

  MIRACLES AND GRACIOUSNESS David Sylvian in Glasgow, December 1993 An interview with Bill Drover (with a little help from Robert Fripp)

  “The Day After” by John Diliberto (Jazziz Magazine May 1994) Crisis as a source of art has always been romanticized in the West. You’ve got to suffer if you want to sing the blues, cut off your ear if you want your art to bleed, and endure the pits of depression if you want to leave something behind when

Published in SOS June 1994

Originally published by Sound On Sound at June 17th 1994. Despite having spent more than 15 years in the public eye, David Sylvian remains an enigmatic figure who has reinvented his own musical style constantly, both within his solo work and in his collaborations with musicians as diverse as Holger Czukay and Robert Fripp. PAUL TINGEN charts the history of

by Craig Peacock The following interview took place in October 1994 at the P-3 Gallery  near Shinjuku, one of Tokyo’s many shopping and business centres. The  gallery itself is located in the basement of a temple. This is not as  spiritual as one would expect, as it’s surrounded by ugly office and  residential buildings. The clatter of modern life in