17.03.15: Permalink » Record Store Day 2015
Record Store Day (April 18th) sees Universal release a 7” of ‘Bamboo Houses‘/‘Bamboo Music (2000 Remix)’. The release is limited to 1000 copies and is in a sleeve art directed by David, designed by Chris Bigg, and featuring images by Yuka Fujii. It contains a printed inner sleeve and, as with all of David and Chris’s design work, contains special inks and papers in the production of the cover.
15.12.14: Permalink » Seasons greetings
20.10.14: Permalink » ‘there’s a light that enters houses with no other house in sight’
Samadhisound is proud to announce the release of David Sylvian’s new long form composition; ‘there’s a light that enters houses with no other house in sight.’ A unique collaboration with American Pulitzer Prize winning poet Franz Wright, featuring contributions from Christian Fennesz and John Tilbury.
The release will be available in three editions: A limited deluxe edition – now sold out – in an embossed cloth bound book featuring selected poems from Kindertotenwald as read by Franz Wright with contributions from three renowned photographers assembled by Sylvian to illustrate the edition.
The second edition is a digipak showcasing photographic artwork by Nicholas Hughes. The third is a digital download with extensive digital booklet. All art directed by Sylvian and designed by Chris Bigg.
”In September 2011, at the time of its publication, I read Franz Wright's Kindertotenwald. I was familiar with Franz’s earlier work but something about the subject matter of this collection resonated with me as if my psyche had momentarily found an echo in tune with, but more eloquent than, its own internal voice. There’s a knowledge of the world in Wright’s work (not world weary but wary of the false note, pulsing with a current that comes from bearing witness to what's ‘real’ whilst remaining vigilant of the tide of delusion and vanity that threatens to engulf us) that omits neither light nor dark but embraces both. Here’s a man who’s been to the other side and returned or remained to tell of what he’d seen, not without sacrifice, nor a wonderfully dark vein of wry humour… On embracing the offer of a brief tour with friend and collaborator, Christian Fennesz, I came to the conclusion that it was better to find a focus for the work prior to touring than to attempt a form of free improvisation. The starting point in my mind was Franz and Kindertotenwald…
I composed the bulk of the material in transit on a laptop with no additional hardware. I thought of the piece more as a remix of many sampled soundbites, granulated and looped, carefully distilled elements drawn together to form ‘movements’ which worked in support of and/or complimented Wright’s readings. Christian and I took a rough form of this composition on tour with us in Sept-Oct 2013. Once I’d spent enough time away from the blueprint I returned with the intention of elaborating upon the initial composition for future release. Christian recorded some of the beautiful additions he’d refined on the tour, John Tilbury brought his superior talents to compliment my own piano contributions and, with the addition of some samples from prior sessions with Otomo (Yoshihide) and Toshimaru (Nakamura), as well as some electronics of my own, the work was mixed, again, in transit as my life continued, indeed continues, to take unforeseen twists and turns.
Franz Wright has defied expectations and all prior prognoses and has returned from the precipice that is terminal cancer to a precarious, but passionately lived and thoroughly exploited, state of grace. He has been treated for lung cancer for four years now, and both he and his wife, Beth, have been through some incredibly trying times “…(which) I can only describe as like nothing I could ever previously have imagined, not even in dreams. Is death the mother of beauty? How one loves such huge sayings when young, and how oddly self-conscious they seem, logic dressed up in poetry’s clothing and thus ultimately shallow, like discussions about the unconscious which naturally cause it to flee. I cannot depict in any way the appearance of things in light of death’s imminence—With regard to writing itself, never have I felt such a wildly enthusiastic freedom , a willingness to try anything, a surefooted confidence that there is a perfectly simple and clear way, in a very small space, for a language conscious of its limitations and—I think of Orwell’s remark comparing good prose—I would add poetry, in many cases, ought to be like a window, one I suppose of crystalline spotlessness—the way it renders other things visible, beyond itself, not just itself…” – David Sylvian, June 24 2014
17.12.13: Permalink » An Anomaly, remixed by Gilbert Nouno
06.08.13: Permalink » Do You Know Me Now?
A one-time pressing of a limited edition 10” vinyl release from David Sylvian and the samadhisound label.
Earlier this year, David was invited to participate in an installation by the visual artist Phil Collins, entitled “My heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught” (after Genet).
A number of musicians were given, with the consent of those using the phone, anonymously recorded telephone conversations from a booth housed in a homeless centre in the centre of Cologne, from which to construct a composition of their choosing incorporating the text either directly or indirectly as each participant saw fit.
The resulting work was played back in specially designed listening booths in the museum itself. The conversations that david received resulted in the song “Do You Know Me Now?”, released for the first time on the samadhisound label on 10” vinyl and as digital files.
The A-side is backed by a re-mastered version of the song “Where’s Your Gravity?”, which first appeared on the EMI compilation A Victim of Stars. The package is beautifully designed by Chris Bigg, and each mail ordered copy will be signed by David himself.
The installation was successfully housed in the Museum Ludwig, Cologne, from April 18 through to July 21 2013, and will travel further afield later in the year.
For further information and sound samples, please visit www.davidsylvian.com/doyouknowmenow
03.06.13: Permalink » David Sylvian: Abandon/Hope
In Japan this summer there will be two, simultaneously held, photographic exhibitions by David Sylvian. Abandon will open in Tokyo on the July 22nd at Spiral Garden. The second, Hope, opens on July 20th in an abandoned building located in the port town of Uno (Okayama) as part of the Setouchi International Art festival 2013.
The current details are as follows:
from 22nd July - 29th July
Spiral Garden, Tokyo, Japan
from 20th July - 1st September
Uno (Okayama), Japan. Commissioned by the Setouchi International Art festival 2013 (Setouchi Triennale).
The project Abandon/Hope also incorporates two especially commissioned sound installations, curated by David, as part of the Setouchi Art Festival 2013.
The sound installation is divided into two sections: 1) a composition by Taylor Deupree, entitled 'Too Close To Being Far Away From Everything'. This can be heard via a playbutton (MP3 player) for rent or purchase from the mobile Kiosk in Uno. 2) A reading of various quotations by several famous philosophers broadcast by loudspeaker from the mobile KIOSK.
For further information contact: firstname.lastname@example.org
10.12.12: Permalink » Amplified Gesture
Amplified Gesture, the deluxe edition of David Sylvian’s groundbreaking album Manafon, explores the journeys and philosophies of a select group of experimental musicians including Keith Rowe, Evan Parker, Eddie Prevost, Otomo Yoshihide, Toshimaru Nakamura and Christian Fennesz. It's an intimate, eloquent, captivating document of a thriving and endlessly renewable music scene.
Revised and re-visited, this DVD release features a new chapter, entitled ‘The Collective’, plus numerous extras including outtakes from interviews plus artist biographies. Also included on the disc is a short introductory film, written, directed and narrated by David Sylvian. ‘A Man of No Significance’ documents the journey and modus operandi of the Manafon recording sessions and the creative rationale for the production of the film.
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