By Fiona Russell Powell. Published in The Face, October 1982.
Transcripts
Transcripts from articles and interviews.
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
by Karl Lippegaus. Er wohnt zusammen mit einer schönen Japanerin im obersten Stockwerk eines unauffälligen Reihenhauses. In diesem Stadtteil von London leben Menschen, die weder besonders arm noch besonders reich sind, und scheinbar doch was vom guten Leben verstehen. Als ich durch die kleinen Straßen gehe und nach dem Haus von David Sylvian suche, denke ich, hier mieten die letzten
David Sylvian: Portrait of an artist by Ian Birch
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
Master Craftsman David Sylvian by Mark Prendergast Since the break-up of his group Japan in November 1982, David Sylvian has been slowly widening the base of his music to encompass both ethnic and avant-garde sounds. Mark Prendergast gathers the facts on the change of style.
Inexorably Sylvian by Nile Larsen (Details, April 1988)
The last two years have been a period of transition for David Sylvian, but he’s now in a new collaboration with Holger Czukay and a new solo single and a major retrospective set of his post-Japan recordings scheduled for November release. PAUL LESTER reports on one of rock’s most enigmatic figures.
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, David Sylvian by Tim Goodyer The charismatic singer, composer and lyricist rejoins the former members of Japan for their first LP in ten years. Tim Goodyer talks technology, philosophy and improvisation with David Sylvian.
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:
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)
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