David Sylvian (born David Alan Batt, February 23 1958, in Beckenham, Kent, … Read Full Bio ↴David Sylvian (born David Alan Batt, February 23 1958, in Beckenham, Kent, UK) is an English singer, musician and composer who first rose to fame as the lead vocalist and main songwriter of the band Japan, and whose subsequent solo career has been influenced by a variety of musical styles and genres, including jazz, ambient music and electronic music.
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
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
Random Acts of Senseless Violence
David Sylvian Lyrics
Jump to: Overall Meaning ↴
Under yellow light
Comes the face of tomorrow
Lights the fuse
Gives meaning to
All that was previously hollow
To a soundtrack of sirens
And mute aspiration
The express train to Heathrow
First of the morning
Is leaving the station
Our reckless sun rises
On the tip of the iceberg
Hidden in plain sight
Still alive and full of surprises
A generation gone soft
Over new acquisitions, that can't take the edge off
I've put away my childish things
Abandoned my silence too
For the future will contain
Random acts of senseless violence
The target's hit will be non-specific
We'll roll the numbers play with chance
All suitable locations unplanned in advance
Someone's back kitchen, stacked like a factory
With improvised devices, there's bound to injuries
With improvised devices
No phone-ins, no courtesy, no kindness
And the future will contain
Random acts of senseless violence
And it's not just the boredom
It's something endemic
It's the fear of disorder
Stretched to its limits
And the safety of numbers is just a contrivance
For the future will contain
Random acts of senseless violence
Democracy is very
Democracy is very, very
Comes the face of tomorrow
Lights the fuse
Gives meaning to
All that was previously hollow
To a soundtrack of sirens
And mute aspiration
First of the morning
Is leaving the station
Our reckless sun rises
On the tip of the iceberg
Hidden in plain sight
Still alive and full of surprises
A generation gone soft
Over new acquisitions, that can't take the edge off
I've put away my childish things
Abandoned my silence too
For the future will contain
Random acts of senseless violence
The target's hit will be non-specific
We'll roll the numbers play with chance
All suitable locations unplanned in advance
Someone's back kitchen, stacked like a factory
With improvised devices, there's bound to injuries
With improvised devices
No phone-ins, no courtesy, no kindness
And the future will contain
Random acts of senseless violence
And it's not just the boredom
It's something endemic
It's the fear of disorder
Stretched to its limits
And the safety of numbers is just a contrivance
For the future will contain
Random acts of senseless violence
Democracy is very
Democracy is very, very
fragile
Let's give it a big hand
The lyrics of David Sylvian's song "Random Acts of Senseless Violence" paint a bleak picture of the future, one in which violence has become random, reckless, and ubiquitous. Sylvian begins by noting that the "face of tomorrow" is illuminated only by "yellow light," suggesting a world in which clarity and hope are in short supply. However, the arrival of this new day also "lights the fuse" and "gives meaning to all that was previously hollow," suggesting that the chaos to come might be a kind of twisted rebirth.
Sylvian goes on to describe a world in which the "express train to Heathrow" is the first sign of life in a city that is otherwise silent but for the sound of sirens. He notes that this world is full of surprises and hidden dangers; even the sun rises on the "tip of the iceberg," implying that there is always more to fear just below the surface. Sylvian is critical of what he sees as a generation that has "gone soft" and is preoccupied with "new acquisitions," which he believes are inadequate for dealing with the violence that is on the horizon.
The song's chorus reflects Sylvian's grim vision of the future: "For the future will contain / Random acts of senseless violence." He imagines attacks that are "non-specific," carried out with "improvised devices" in places that have been "unplanned in advance." Sylvian suggests that this violence will be motivated not just by boredom, but by a deeper sense of "fear of disorder" and a "safety in numbers" that is ultimately illusory. The song's final lines seem to offer a warning to the listener that democracy itself is "very, very fragile" and in need of protection.
Lyrics © Red Brick Music Publishing
Written by: CHRISTIAN FENNESZ, DAVID SYLVAIN, KEITH ROWE, MICHAEL MOSER, WERNER DAFELDECKER
Lyrics Licensed & Provided by LyricFind
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