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
Mother And Child
David Sylvian Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Upon the squares
Blood is drawn up from the well
Secret signs brought the crime
Right to your door
An innocent guilty as hell
Oh, the cot is open wide
Gone the mother and the child
In jesus name
Should they be waiting there
On my return
I may run into their arms
Walking on a razor's edge
Unconcerned
Game is lost again
I'll never learn
The lyrics to David Sylvian's song "Mother And Child" can be interpreted as a vivid expression of the emptiness and confusion that ensues when a mother and her child disappear. The lyrics vividly describe an unsettling scene where shadows form knights and pawns upon the squares, possibly signaling the impending danger that would later result in the disappearance. Furthermore, the blood drawn up from the well suggests that the disappearance may have been violent, and the secret signs brought the crime right to your door could symbolize the juxtaposition of the evil that exists in plain sight with the innocent lives that suffer from it.
The lyrics paint a picture of despair, and the reference to an innocent guilty as hell reiterates this. The choruses reveal a poignant picture with the lines, "Oh, the cot is open wide, damp with milk and honey, gone the mother and the child in Jesus' name." The imagery of an open cot with milk and honey, which is symbolic of providing nourishment and care, again underscores the innocence of the mother and the child. The repetition of the phrase "In Jesus' name" could imply a sense of appeal and hope towards divine intervention to reunite the mother and child.
In the second verse, the lyrics suggest a sense of guilt or regret towards one's past actions or behaviors. The lines, "Walking on a razor's edge, unconcerned, game is lost again. I'll never learn" could indicate a personal struggle with the consequences of past behavior that led to the loss of the mother and child, and a sense of helplessness in being unable to change the outcome. The lyrics evoke emotions of sadness, regret, and loss, leaving the listener to take away their meaning.
Line by Line Meaning
Shadows form knights and pawns
The shadows of the night create unsettling shapes, such as those of chess pieces.
Upon the squares
These shadows are cast upon the ground, creating a chessboard-like pattern.
Blood is drawn up from the well
A sign of violence has occurred and blood has seeped up from its source.
Secret signs brought the crime
The violent act was premeditated and planned out with specific symbols and gestures.
Right to your door
This crime was carried out with malicious intent directed specifically at the victim.
An innocent guilty as hell
The victim was innocent but has been subject to unjust treatment and punishment.
Oh, the cot is open wide
The crib is exposed and empty, suggesting a loss or absence of life.
Damp with milk and honey
The ambiance of the nursery remains in a stagnant state, damp with the lingering sweetness of milk and honey.
Gone the mother and the child
There is an overwhelming sense of separation from a loved one or family unit.
In Jesus' name
The artist is invoking the power and protection of Jesus in the face of what has happened or could happen.
Should they be waiting there
The singer wonders if the mother and child are waiting for him, causing an inner turmoil.
On my return
The artist will be coming back to the place where the mother and child were taken from, still in a state of uncertainty and fear.
I may run into their arms
The singer is expressing his longing for the comfort of the mother and child, but is unsure of his ability to find them again.
Walking on a razor's edge
The singer is treading a very fine line and is at risk of losing himself in his own fears and doubts.
Unconcerned
Others around the singer may not share his worry or feelings of unease.
Game is lost again
Whatever the artist is trying to hold on to, or to protect, has once again been lost, possibly forever.
I'll never learn
Despite repeated attempts, the artist is feeling hopeless and unable to come to terms with their never-ending sense of loss.
Lyrics © MUSIC SALES CORPORATION
Written by: DAVID SYLVAIN
Lyrics Licensed & Provided by LyricFind