Manafon David Sylvian

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CD - Digi-Pak

  • Release Date: 09/15/2009
  • Sales Rank: 12,132
  • Label: SAMADHI SOUND UK
  • UPC: 633367770523

Listener Rating: (1 ratings)

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  • Overview
  • Tracks
  • Editorial Reviews
  • Customer Reviews
  • Details & Credits
Track List
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Manafon

1LISTENSmall Metal Gods 5:48
2LISTENThe Rabbit Skinner 4:41
3LISTENRandom Acts of Senseless Violence 7:06
4LISTENThe Greatest Living Englishman 10:54
5LISTEN125 Spheres 0:29
6LISTENSnow White in Appalachia 6:35
7LISTENEmily Dickinson 6:25
8LISTENThe Department of Dead Letters 2:25
9LISTENManafon 5:22

About this Artist

Editorial Reviews

If there is a single theme that runs through David Sylvian's Manafon, it's simply: "No hope...no doubt." Like 2003's Blemish, it's a rather difficult record, and its emotional and spiritual cousin. It's dark, fraught with emotional and musical difficulty, nonlinear sounds and improvised music, and lyric themes that express a tension between hopelessness and the love of everyday life. The title comes from the name of a village in Wales where the poet R.S. Thomas once lived, studied the Welsh language, and published his first three volumes. He is the principal muse for Manafon, though there are others. Much of the writing reflects -- like Blemish -- Sylvian's own struggles, though they are often (but not always) relegated to the third person. The studio musicians have either worked with Sylvian before or with one another: they include saxophonist Evan Parker, pianist John Tilbury, guitarists Christian Fennesz and Keith Rowe, members of Polwechsel, and turntablist/guitarist Otomo Yoshihide, among others. There are no drums. It must also be said that the presence of the late Derek Bailey (who worked on Blemish) is felt deeply on this recording, which was created on three continents. Despite these vanguard players, Manafon is not an avant jazz or "new music" record. It blurs all categories beautifully, and while it makes listeners work a bit, its payoff is a dark and luxuriant dream that cascades, floats, hovers, and changes both shape and shade often, and does so seamlessly.

Sylvian's voice is front and center; it is so prominent that despite all of the instrumentation, in whatever musical conflagration chosen for a particular track, the voice is almost on its own. His phrases and lyrics were either improvised to fit the live sessions or were written in response to them. There are numerous electronic effects, but they never intrude on Sylvian's voice, which is simultaneously emotionally engaged in the process and yet detached from the actual emotions expressed in the songs themselves -- even when they are confessional in nature. The album opener, "Small Metal Gods," is an example, and one of the most moving tracks on the set. Accompanied by acoustic guitar, laptop, electronics, bass, and cello, he sings ."..You balance things like you wouldn't believe, when you should just let things be/Yes you juggle things 'cause you can't lose sight of the wretched story line/It's the narrative that must go on, until the end of time/And you're guilty of some self-neglect, and the mind unravels for days/I've told you once, yes a thousand times, I'm better off this way...." Other standouts include "Random Acts of Senseless Violence," with stellar work by Yoshihide (who was instructed to use only the sounds of classical or modern chamber music), as well as Tilbury's ghostly piano. Parker shines on "The Rabbit Skinner," the lone instrumental "The Department of Dead Letters," and "Emily Dickinson." "Snow White in Appalachia" contains one of the most beautiful "melodies" on the set, and the closing title track is something so abstract yet memorable that it sums up both Sylvian's lyrical and musical themes as a strangely beautiful construction of their own even if at times they are disturbing. Manafon is a quiet yet forceful stunner, a recording that, if heard, is literally unforgettable. Thom Jurek, All Music Guide

Customer Reviews

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September 01, 2009: Right around the same time that Nine Horses' Snow Borne Sorrow was released, I had been informed that Sylvian had taken part in recording sessions involving contributions from Christian Fennesz, Keith Rowe and members of the group Polwechsel and that these sessions would be much more demanding of listeners. Since learning of these sessions, I have been curiously intrigued and anxiously anticipating the opportunity to hear this music that would be created by this peculiar amalgamation of artists. And now after nearly four years, the wait is over. For the past week, I have been listening to the final product which Sylvian has given the title "Manafon"...and it is quite a remarkable release.

By collaborating with the innovative artists who work within the field of Electro-Acoustic Improvisation, Sylvian obviously intended to challenge himself and in turn, challenge his audience. And the initial listen to such an experimental approach may give one pause...especially if the listener dares to bring his or her own preconceptions. Yet as the seemingly discordant relationship between vocal and instruments becomes less unsettling, the textural beauty of each track is made vividly apparent.

Sylvian's voice is front and center, and I have no doubt that other commentators will make heavy mention of the minimalistic instrumentation on this release. But I can assure other listeners that there is plenty enough going on, which will undoubtedly be discovered with continous listening. The music on this cd is not nearly as stark nor as bare in the manner which it is being portrayed in advance notices. In my opinion, the contributions from both pianist John Tilbury and saxophonist Evan Parker are absolutely stunning and allow the listener to focus on solid instrumentation at an equal level with Sylvian's vocal.

Sylvian's lyrics are deep and captivating throughout. Here is the overall lyrical subject matter of each track:

'Small Metal Gods' focuses on tossing aside the need for gurus and spiritual journeys / 'The Rabbit Skinner', as best my metaphorically challenged brain can decipher, is about a man with no redeeming qualities / 'Random Acts Of Senseless Violence' deals with terrorism cells and the loss of civil liberties due to a nation's paranoia / 'The Greatest Living Englishman' seems to be about a melancholy writer who appeals to no one since he writes solely about himself...perhaps Sylvian is slightly mocking his reputation here? / '125 Spheres' leaves me completely baffled and I can't fathom why this piece was included on the cd / 'Snow White In Appalachia' focuses on a girl who struggles with addiction to Cocaine / 'Emily Dickinson' seems to be a continuation of the previous track's topic - a girl is 'no longer a user' and becomes ostracized by her former aquaintances...the majority of this track is instrumental as it features a spotlight for saxophonist Evan Parker's considerable skills, which is then followed by even more instrumental experimentation on 'The Department Of Dead Letters' / 'Manafon' is about the misanthropic poet Ronald Stuart Thomas - with a bit of commentary by Sylvian at the conclusion : "don't know his right foot from his left".

There will no doubt be many comparisons and contrasts put forth by other reviewers, but if allowed to stand on its own, "Manafon" makes for a satisfying listen, and is a testament to Sylvian's ability to successfully integrate his sound with radical...