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Anyone who still harbours dreams of David Sylvian’s return to the faux-Ferry new romantic stylings of yore, leave the room, now. Describing a career arc that’s elegantly swooped through coffee table ambience towards a “devotion to creative discipline”, he now inhabits (like Scott Walker) that most rarefied of zones where artistic credibility eschews commercialism in any form. Ironically, the result of such a determinedly stoic path meant that 2005’s Nine Horses project seemed almost disappointingly mainstream. Manafon is, by no means, such an easy listen.
Almost constructing music in reverse, his last major solo release, Blemish (2003), was stripped bare of just about everything except Sylvian’s voice and the late Derek Bailey’s rattling guitar strings. Only when Sylvian turned the work over to the remixers on The Good Son Vs The Only Daughter did anything really resembling songs emerge.
Superficially this is the same minimal fare. Manafon ploughs a confrontational furrow. Sylvian’s current modus operandi begins with him capturing his voice, bravely naked and unadorned except by pitch-shifted harmonising. He then invites collaborators across the globe to add layers of meaning.
Here the sparse chittering of Bailey is replaced with a richer cast of notables, including the free jazz of Evan Parker’s saxophone, John Tilbury’s questioning piano, Werner Dafeldecker’s earthy double bass and the dusty, ambient scratch of Otomo Yoshihide’s turntables. And as if this cast didn’t suitably underline Sylvian’s place as pop star reborn as cutting-edge experimentalist, he replaces the angular prod of Bailey’s guitar with AMM legend Keith Rowe, as well as Blemish’s other notable player, Christian Fennesz.
Close listening reveals more intricacy, intimating a stronger ensemble vibe while still leaving the door ajar for chance and accident. And while, lyrically, it still relies on a third-person recital of loss and denial, Sylvian does manage to pack some humour and self-effacement into the narrative.
Above all, the album’s autobiographical bent describes a man who may seem wilfully puritanical and harsh, but whose methods yield immense beauty for the listener. The title track – based on the village where the poet RS Thomas lived – is an analogy for a figure with whom Sylvian indentifies when he describes him as “an insufferable individual” who is “upholding morals and values that even he struggles with when it comes to believing in their efficacy”.
Manafon is a brave, disconcerting and terrible document. If only all so-called artists could display such courage. --Chris Jones
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Product Description
2009 studio album from the one-time Japan frontman! Improvised soundscapes 'n' spiritual intensity, in part based on the life of Welsh clergyman-turned-poet RS Thomas. Cameos by Keith Rowe (AMM) ; Fennesz ; Evan Parker and Otomo Yoshihide.
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Customer Reviews
Most Helpful Customer Reviews
48 of 56 people found the following review helpful
Format:Audio CD
Oh well, I can tell you what will happen when a lot of the reviews will have been published: there will be writers who will miss that "persona" of Sylvian who created albums like BRILLIANT TREES or DEAD BEES ON A CAKE; and there will be some writers (hopefully the majority!) who will love this song cycle (I'm quite sure the great Richard Williams will like this album very much, the man who has just released the fine book THE BLUE MOMENT about the groundbreaking atmosphere of Miles Davis' KIND OF BLUE and its long echoes). The reason for such controversial reactions: the voice is the only instrument that is carrying the melody.
There are no grooves, no classic harmonies that supply the perfomance (the flights) of the voice. The music comes from the free improv-scene (Evan Parker, Christian Fennesz a.o.) and creates strangely spidery textures you might never have heared before as a "background" or environment for a singer. Pop beyond Pop, modern chamber music with a touch of jazz and the Japanese art of playing sine waves and turntables...
The moods are exquisite, the lyrics enigmatic, and the singing has that kind of nakedness where artists risk a lot. This is music that belongs to the same class as the late Talk Talk albums and Scott Walker's TILT or THE DRIFT. It is a good thing that there are still some guys on the planet who are looking for new horizons and who are not so much interested in repeating a formula that will constantly please the conservative part of their audience.
When Sylvian recorded BLEMISH, he discovered new areas for his songwriting - MANAFON is the best continuation of that path you can imagine. Although this music is at times raw, violent, tender and melancolic, it has a rewarding impact on everybody who is ready to follow this rare combination of free playing and deep melodies. In his fine review in MOJO Mike Barnes writes about the fact how surprisingly well music and voice are moving around one another though they come out of totally different worlds.
By the way, the deluxe package contains Phil Hopkins' excellent black-and-white film AMPLIFIED GESTURE. I had the opportunity to see a pre-screening of it at the 5. PUNKTFESTIVAL in Kristiansand at the beginning of September. You do not hear Sylvian singing a single note in that film, but you listen to well-chosen instrumental passages of the music as well as to all the great stories of the pioneers of the free improv-scene from Japan, England, and Austria who made a living thing like MANAFON possible with their passion and love for a music without safety nets.
With all due respect - and knowing that some words are simply used too often in the description of music, this record is stunning, beautiful, heartbreaking and, yes, kind of blue. Nothing less.
There are no grooves, no classic harmonies that supply the perfomance (the flights) of the voice. The music comes from the free improv-scene (Evan Parker, Christian Fennesz a.o.) and creates strangely spidery textures you might never have heared before as a "background" or environment for a singer. Pop beyond Pop, modern chamber music with a touch of jazz and the Japanese art of playing sine waves and turntables...
The moods are exquisite, the lyrics enigmatic, and the singing has that kind of nakedness where artists risk a lot. This is music that belongs to the same class as the late Talk Talk albums and Scott Walker's TILT or THE DRIFT. It is a good thing that there are still some guys on the planet who are looking for new horizons and who are not so much interested in repeating a formula that will constantly please the conservative part of their audience.
When Sylvian recorded BLEMISH, he discovered new areas for his songwriting - MANAFON is the best continuation of that path you can imagine. Although this music is at times raw, violent, tender and melancolic, it has a rewarding impact on everybody who is ready to follow this rare combination of free playing and deep melodies. In his fine review in MOJO Mike Barnes writes about the fact how surprisingly well music and voice are moving around one another though they come out of totally different worlds.
By the way, the deluxe package contains Phil Hopkins' excellent black-and-white film AMPLIFIED GESTURE. I had the opportunity to see a pre-screening of it at the 5. PUNKTFESTIVAL in Kristiansand at the beginning of September. You do not hear Sylvian singing a single note in that film, but you listen to well-chosen instrumental passages of the music as well as to all the great stories of the pioneers of the free improv-scene from Japan, England, and Austria who made a living thing like MANAFON possible with their passion and love for a music without safety nets.
With all due respect - and knowing that some words are simply used too often in the description of music, this record is stunning, beautiful, heartbreaking and, yes, kind of blue. Nothing less.
16 of 19 people found the following review helpful
Format:Audio CD
I didnt expect to like this album after Sylvian's last solo release Blemish. "bold" and "uncompromising" is how his record label described it pre release. Yes its not particularly commercial but that's now what Sylvian is about. On Manafon he worked with a number of leading experimental musicians to create a backdrop of sounds, moods and atmospheres to which he responded with his gorgeous vocals. Surprisingly its a lot more melodic than many would think. The opening Small Metal Gods is almost folk like in its delivery, the lyric describing Sylvian's loss of faith in the Hindu gods he once worshipped. I can't pinpoint a highlight on this record as it's all so damn good but if I had to nominate it would be the stunning Emily Dickinson with Evan Parker's beautiful solo at the end of the song. I'm glad Sylvian is still writing songs and he is prepared to take chances. There are very few artists today who have his focus and integrity. Manafon is the record of 2009...easily.
7 of 9 people found the following review helpful
Format:Audio CD
David Sylvian's career has spanned a thirty-year period, initially finding its way through the popular New Romantic movement with the band Japan. Sylvian subsequently went on to produce a quality body of mature solo work, his debut emerging in 1984 with Brilliant Trees. Going from strength to strength ever since, he's reinvented himself musically at various stages along the way.
His latest release, Manafon, is an unconventional work and perhaps one of the most diverse to date, and testament to his development. It sees Sylvian stripped bare of any lavish trimmings. The compositions reach out with naked hands, clinging to intelligent and sometimes complex observations and rigorous study of character.
Sylvian scratches the edges of some dark surfaces; however the centrefold is even more expressive with its hues of jaded normality - a conceptual status throughout.
Sylvian portrays deep insights with his lonely textured vocals, grasping the heart of the subject and shaping it in a way that only his own strength of voice could direct. Instrumentation is sparse yet effective and orchestrated in a unique way - the diverse sounds intervene at all the right moments integrating well with the mood. His haunting lullaby has a strong sense of purpose - pivoted centrally throughout the album against its dark fabric - the colours of which are all exceptionally responsive. With production that's crystal clear - every creek or stirring within the atmosphere can be heard - all reacting and responding with an immense sharpness.
"Maybe I'm attracted to the stories of individuals who search for meaning on their own terms," says Sylvian. "But what I'm fascinated by is the devotion to a creative discipline. The meaning with which the work imbues the life regardless of its reception and, to a certain extent, its importance."
Manafon isn't just a listening experience - it's a work that encompasses every nuance of explicit chamber instrumentation, melody and structure - the qualities of which become more engrained with every listen.
His latest release, Manafon, is an unconventional work and perhaps one of the most diverse to date, and testament to his development. It sees Sylvian stripped bare of any lavish trimmings. The compositions reach out with naked hands, clinging to intelligent and sometimes complex observations and rigorous study of character.
Sylvian scratches the edges of some dark surfaces; however the centrefold is even more expressive with its hues of jaded normality - a conceptual status throughout.
Sylvian portrays deep insights with his lonely textured vocals, grasping the heart of the subject and shaping it in a way that only his own strength of voice could direct. Instrumentation is sparse yet effective and orchestrated in a unique way - the diverse sounds intervene at all the right moments integrating well with the mood. His haunting lullaby has a strong sense of purpose - pivoted centrally throughout the album against its dark fabric - the colours of which are all exceptionally responsive. With production that's crystal clear - every creek or stirring within the atmosphere can be heard - all reacting and responding with an immense sharpness.
"Maybe I'm attracted to the stories of individuals who search for meaning on their own terms," says Sylvian. "But what I'm fascinated by is the devotion to a creative discipline. The meaning with which the work imbues the life regardless of its reception and, to a certain extent, its importance."
Manafon isn't just a listening experience - it's a work that encompasses every nuance of explicit chamber instrumentation, melody and structure - the qualities of which become more engrained with every listen.
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Most Recent Customer Reviews
A Film Bleached of Colour Yet Still with a Leading Role
Maddy Costa in `The Guardian' described this album as "a forbidding proposition", but then went on to say that with the right approach it "becomes mesmerising". Read more
Published 3 months ago by Nicholas Casley
1 star for the album cover
I like David Sylvian's music,songs,lyrics & albums and have enjoyed the 3 concerts I've been to but this album - Oh Dear !!
To me anyway .
Very disappointing !!
To me anyway .
Very disappointing !!
Published 9 months ago by Jonathan Attle
The most beautiful CD in the world.
For me, this CD probably sets the benchmark for beautifully crafted / innovative / melodic / inspirational audio compositions.
Packaged beautifully, a work of pure genius. Read more
Packaged beautifully, a work of pure genius. Read more
Published 12 months ago by Hutch
Wake me when it finishes
I first bought Secrets of the Beehive over 20 years ago and have been a fan since. Unfortunately I find this CD unlistenable at best. Read more
Published 15 months ago by Gavesson
Improves with more listening
I've been a Sylvian fan since 1982 and admire most of his output. I don't think this is his best album by far, but it does improve with listening. Read more
Published 19 months ago by Lazydrake
Into the darkness..
If you like Blemish you will like this. Sylvian realises there is no point standing still. This recording rewards thoughtful listening and an open mind. Read more
Published 22 months ago by Christopher Hunter
manafon.....why?
Manfon is a strange creation. I wonder how and why it came about, as I must admit, although some will love this album, the vast majority of Sylvian fans, including myself, will be... Read more
Published on 12 May 2010 by Michael O'Grady
Difficult and almost impenetrable
David Sylvian continues his retreat from the mainstream with his latest album. Entitled Manafon, which is a parish in Wales, the music within is unconventional to say the least. Read more
Published on 24 April 2010 by klaher
PUREST EMOTIONAL BLISS AVANTE GARDE ABSTRACT ELECTRONICS
This is david's deepest exploration the emotion in the songwriting here is totally mastered abstraction,from the fith or sixth listen it has really embedded itself into my psyche,I... Read more
Published on 11 Mar 2010 by Adelita C. Rubio
Utterly ambiguous noise
After the joy of listening to Sylvian's recent collaboration - Nine Horses, and a recommendation to buy Manafon from a friend, I genuinely looked forward to listening to this. Read more
Published on 9 Feb 2010 by Papalamour
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