Japan, which also included Mick Karn, Rob Dean, Richard Barbieri and Sylvian's brother Steve Jansen, started out as a confusing hybrid rock/sleaze outfit in the mould of David Bowie and The New York Dolls. Their music quickly evolved as, at least to begin with, they drew heavily on the influence of Roxy Music's art rock stylings. Their visual image developed in parallel and the band were (unwillingly) tagged as forerunners of the New Romantic movement.
Japan recorded five studio albums between March 1978 and November 1981. Their biggest hit single, the minimalist Ghosts, which reached the Top 5 in the UK charts in 1982, was a clear pointer to Sylvian's future direction. After a successful tour, the band split in late 1982, and Sylvian embarked upon a solo career.
Around the time of Sylvian's first solo album he collaborated with 坂本龍一 (Ryuichi Sakamoto) on the soundtrack music for the Nagisa Oshima film Merry Christmas, Mr. Lawrence (1983), which produced a Top 20 hit single, Forbidden Colours.
Sylvian's debut solo album, the jazz and ambient-influenced Brilliant Trees (1984), met with critical acclaim and yielded the single Red Guitar, another Top 20 hit. Guest artists included Jon Hassell and Holger Czukay. His follow-up was an instrumental EP Alchemy which cemented his drift away from commercial pop
The EP was in turn followed by the double album Gone to Earth (1986), which flouted convention (and perhaps commercial wisdom) by featuring one record of songs (predominantly atmospheric ballads) and one consisting almost entirely of ambient instrumental tracks. Guest artists included guitarists Robert Fripp and Bill Nelson.
His third album, Secrets of the Beehive (1987), was more acoustic and oriented towards somber, emotive ballads laced with string arrangements by 坂本龍一 (Ryuichi Sakamoto). It yielded one of Sylvian's most well-received songs, Orpheus, and was supported by his first solo tour, 1988's "In Praise of Shamans". Sylvian's touring band included ex-Japan bandmates Jansen and Barbieri along with trumpeter Mark Isham, bassist Ian Maidman and guitarists David Torn and Robbie Aceto.
Never one to conform to commercial expectations, Sylvian then collaborated on several ambient music projects with artists including Holger Czukay and Russell Mills.
In 1991, a highly-anticipated Japan reunion (excluding Rob Dean) ended in acrimony. Sylvian insisted on calling the project and the album Rain Tree Crow, to the dismay of both his label Virgin Records (who were hoping for a hit "comeback" album) and his former bandmates. Guitarists Bill Nelson, Phil Palmer and Michael Brook augmented the quartet for the recording of the album.
In late 1991, Robert Fripp approached Sylvian and asked him to be part of a new King Crimson. Sylvian declined and instead suggested they work on a future collaboration resulting in the release of The First Day.
A period of relative musical inactivity followed, during which time Sylvian moved to the United States. Eventually in 1999, Sylvian released Dead Bees on a Cake. It showed the most eclectic influence of all his recordings, ranging from soul music to jazz fusion to Eastern spiritual chants, and most of the songs' lyrics reflecting Sylvian's inner peace with his marriage (to the wonderful poet/singer Ingrid Chavez), family and beliefs. Guest artists included longtime friend 坂本龍一 (Ryuichi Sakamoto), as well as Talvin Singh, Marc Ribot, Kenny Wheeler and Bill Frisell.
Sylvian parted ways with Virgin and launched his own independent label, Samadhi Sound. Sylvian experimented alone with treated sounds made from his guitar and computer. The results were recorded during February of 2003. A few months later, he released the album Blemish. The disc was stark in its sound and content. The lyrical subject matter dealt primarily with the impending dissolution of Sylvian's marriage. In 2005 The Good Son vs The Only Daughter was released, which was comprised of remixes of tracks from Blemish.
With the conclusion of "A Fire In The Forest Tour" in 2004, work resumed on a joint project between Sylvian and Jansen. Yet the course of the album took on a completely new tone after Sylvian decided to add keyboardist/vibraphonist/programmer Burnt Friedman to the proceedings and make him an equal partner in the collaboration. The band name of Nine Horses was adopted and the CD, titled Snow Borne Sorrow, was released in October of 2005. The sound was a return to more traditional avenues for Sylvian after the radical departure he took with Blemish. Elements of avant-garde jazz, pop, folk and electronic music were all blended together
Nine Horses' Money For All EP was released in 2006, which included new material as well as Burnt Friedman remixes of songs selected from their first disc.
News on Sylvian's website was released in March stating that "We're preparing for the release of David’s new album Manafon. It’s a powerfully bold, uncompromising work featuring contributions from Evan Parker, John Tilbury, Keith Rowe, Christian Fennesz, Otomo Yoshihide, and many more."
David Sylvian's official website: www.davidsylvian.com
Five Lines
David Sylvian Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Five lines
With which he marked time
Five lines flared from the ovens
He pulled the ribbons from their hair
With melodies beaten from the sheets of his mother
Songs for the end of time
Return the birds to their singing
The sun fell, should we leave it to the foxes?
The sun fell from the sky
Leave it to its wits and its devices
The sun fell from the sky in the form of a stag
Buried deep in the forest
And that’s where he felled it
A blow to the head
That left it unconscious
Nothing further was said
We’ll set a place for him
We’ll set a place then
For he had tried
Blood, bone, feathers to the sky
Even in flight
Nothing could have spared him
Five lines
Five lines flared from the oven
Five lines with which he marked out time
Leave him for the foxes
Leave him for the foxes
The song "Five Lines" by David Sylvian is a poignant piece that touches on themes of loss, death, and the passing of time. The opening lines reference the five lines of a musical staff, which the singer uses to mark time. The next line speaks of the ovens, which can be interpreted as a metaphor for the passage of time and the burning away of life. The singer then pulls ribbons from the hair of some unknown individuals, perhaps representing the passing of loved ones. The next line speaks of melodies beaten from the sheets of his mother, which could reference the enduring songs that are passed down through generations.
The second verse begins with the singer wishing for a return of birds to their singing, a hopeful note. However, he questions whether the sun falling from the sky should be left to the foxes, which suggests a sense of resignation or acceptance of the inevitable. The sun falling from the sky in the form of a stag is a powerful metaphor for the death of a powerful force, buried deep in the forest. The singer then fells the stag with a blow to the head, leaving it unconscious. The final lines speak of setting a place for the fallen stag, perhaps as a tribute to its powerful presence.
Overall, the song seems to be a meditation on mortality and the passing of time, with a mixture of sadness and acceptance. The singer seems to be grappling with the idea that death is an inevitable part of life and that we must find ways to honor the things that are lost.
Line by Line Meaning
Five lines
A reference to the five lines of a musical staff, representing the importance of music in the singer's life
With which he marked time
Music was a way for the singer to keep track of time and reflect on their life
Five lines flared from the ovens
A reference to the smoke and flames of concentration camps, indicating that the singer has been through suffering and pain
He pulled the ribbons from their hair
A metaphor for the destruction of innocence and beauty, as the artist has had to witness or participate in atrocities that rob people of their dignity and humanity
With melodies beaten from the sheets of his mother
The artist's mother may have been a musician or a source of inspiration for the artist, and their memory lives on through the music that the artist creates
Songs for the end of time
The singer's music reflects a sense of finality or doom, as if the world is coming to an end and they are trying to make sense of it through their art
Return the birds to their singing
A plea for peace and harmony, as the singer longs for a world where innocent creatures are not affected by the violence and destruction wrought by humanity
The sun fell, should we leave it to the foxes?
A metaphor for the decline of civilization, as the artist questions whether we should allow the world to be destroyed by our own greed and folly
The sun fell from the sky
A continuation of the metaphor of civilization collapsing, as if a catastrophic event is occurring that will change the world forever
Leave it to its wits and its devices
A sense of resignation or fatalism, as if the artist has given up on trying to save the world and is letting it take its course
The sun fell from the sky in the form of a stag
A surreal image that defies explanation, but may represent a kind of rebirth or transformation that the singer is experiencing
Buried deep in the forest
A reference to mythology or folklore, as if the story is taking place in a mystical or otherworldly realm that is both beautiful and dangerous
And that’s where he felled it
A reference to hunting or violence, as if the singer is taking revenge on some mystical creature or force that has caused them harm
A blow to the head
An act of violence or destruction, as if the singer is unleashing their anger or frustration on the world
That left it unconscious
A sense of victory or triumph, as if the singer has overcome some obstacle or adversary that was threatening them
Nothing further was said
A sense of finality or resolution, as if the story has reached its conclusion and there is nothing left to be done
We’ll set a place for him
A gesture of respect or remembrance, as if the artist is honoring someone who has died or been lost in some way
For he had tried
A sense of admiration or sympathy, as if the singer is acknowledging the efforts of someone who may have failed but still deserves recognition
Blood, bone, feathers to the sky
A reference to sacrifice or offering, as if the singer is giving something up in order to achieve a greater goal or express a deeper truth
Even in flight
A sense of hope or transcendence, as if the artist is reaching for something beyond the limitations of their physical existence
Nothing could have spared him
A sense of inevitability or fate, as if the artist is coming to terms with the reality that some things cannot be changed or avoided
Leave him for the foxes
A reference to nature and the wild, as if the artist is returning to a primal state of being that is more natural and pure than civilization
Contributed by Riley T. Suggest a correction in the comments below.
michael molloy
A wonderful song from an incredible artist.
Aaron Hislope
THANK YOU FOR THE UPLOAD I HAVE BEEN LOOKING FOR THIS SONG FOR YEARS