Only available previously via MK Music. A uniquely adventurous and evocative selection of tracks (two of which include lead vocals by Mick) written and arranged between 1995 and 1999 and finally released in 2001. Those five years spanned across several upheavals for Mick, the first being a move to San Francisco with only a suitcase and bass guitar for company. A yearning to go back to the basics of writing, without the luxury of any modern technology to record with and little distraction. The end result is very minimal in it s actual instrumentation, yet often rich by the sheer density of their use. An album of mood swings, darkness often replaced by light, melancholy thoughts by hope. Steve Jansen, apart from mixing nine of the tracks, also contributed with additional drums and percussion. Mick at his most intimate and unfettered. GUITARIST a tasteful slice of Karn s unique playing style and song construction. There are just a couple of vocals but as ever it s the bass playing that captures the imagination. His fans will be delighted with this collection. These tracks are soundscape ideas..THE WIRE Mick Karn s new solo release combines free-flowing ambient textures with vivid bass virtuosity. FUTURE MUSIC Serves You Rice is particularly noteworthy by virtue of it s unusual instrumental make-up : 13 bass guitars and an organ! Minimalist, highly original, ultimately satisfying and worthy of insvestigation.
It must gall Mick Karn somewhat that 20 years after his band split up he's still thought of as Japan
's former bass-player. But if it really bothered him, Each Eye A Path
would be music that large numbers of people could enjoy. Instead he's followed a career path similar to that of his old singer David Sylvian
(and the man who so obviously inspired them, Brian Eno
) by moving from glam-rock to ambient soundscapes and, now, to slightly more discordant and atonal ambient soundscapes. Bearing all that in mind, this isn't a bad album, just a wilfully non-commercial one. "The Night We Never Met", for example, is a haunting piece of work, with Karn's slippery bass work to the fore, post-orgasmic girlies cooing in the distance and a lazy horn ensemble noodling along from time to time, reminiscent of the instrumentals Bowie and Eno did during the Low
era. Other tracks with more primitive synths and jerkier rhythms recall Eno's earlier period, around the time of Another Green World
. --Johnny Black