Customer Reviews

Brilliant Trees

5 star:		(10)
4 star:		(1)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

After Japan had finally recorded an album that realized their talents (1982's "Tin Drum", far and away their best work), they did what so often happens to bands on top of the world (in a fashion). They broke up. Bassist Mick Karn released a quirky, Middle Eastern solo record and began recording with former Bauhaus vocalist Peter Murphy. Shortly thereafter, vocalist and principle songwriter David Sylvian returned with his debut, 1984's "Brilliant Trees".

Often revered by people who were listening back then (I was six, so I was not), "Brilliant Trees" is a brave and exciting album. Like his work with his previous band, Sylvian is prepared to turn his back on his previous accomplishments-- gone are the pseudo-Eastern trappings of "Tin Drum", replaced with a jazz sensibility. Gone is the slithering bass and wailing sax of Mick Karn, instead an atmospheric swirl, or a funky backdrop (depending on the song), carefully constructed by Sylvian and collaborator Holger Czukay, and brass leads (provided ably by Czukay, Kenny Wheeler, Jon Hassell or Mark Isham) dominate the record. And yet, it feels like the followup to "Tin Drum" in it's own way-- certainly Sylvian's voice, while it has gained a depth to it, maintains its distinctive smokey baritone that he was developing, and the presence of Japan drummer Steve Jansen, whose subtle and tasteful playing so delicately worked on "Tin Drum", works here as well. And with appearances by Japan keyboardist Richard Barbieri, frequent collaborator Ryuichi Sakamoto, and producer Steve Nye, there's a sense of continuity.

"Brilliant Trees", as one suspects, excels when Sylvian reaches beyond the sound of Japan-- in fact, Sylvian's penchant for jazz-tinged ballads, which would come to bear so strongly on "Secrets of the Beehive", is pretty apparent here-- no more obvious is it than "Nostalgia". The standout cut on the album-- it features a confident vocal, a great, subtle arrangement with a blazing flugelhorn solo courtesy of Kenny Wheeler, and some superb hand drumming from Jansen. But more often than not, there's a feeling of a lack of confidence in the material-- "Weathered Wall" is a beautiful ballad, but Sylvian's voice sounds a bit tentative and unsure. Still, while this sort of tentativeness is present in part throughout the record, it lends a nice edginess to some of the pieces such that they excel from it ("The Ink in the Well"). And certainly, no lack of certainty is present on the closing title track, and even if it was, there's little that could stop that piece from being as much of a triumph as it is. The only track that really doesn't do it for me is moody ballad "Backwaters", which just feels totally lifeless to me.

This remaster finally gives the album the sonic update it deserves-- put simply, it sounds like it was recorded yesterday. The record is housed in a digipack with the original cover artwork intact and really is quite a nice package.

Invariably though, the album suffers from being the followup to "Tin Drum", regardless of how it should stand on its own, and it also suffers, as a point in history, from being the weakest of Sylvian's three vocal albums of the '80s, and both of these things effected my rating of it. Having stated that, it's probably the strongest three star album in my collection. Recommended.

I listened to this album almost continuously when it first came out (and for several years after that). This weekend when I dug it out again after a long hiatus, I wasn't sure what to expect. It's an album I associate with my (more) angsty youth when I'd lie on my bed for hours and let the music and the sound of David Sylvian's voice sink into my pores. Would I now find it cringe-worthy? Hurriedly delegate it to a teen nostalgia box? Well, I can tell you that I was blown away. If anything I appreciate its magic even more some 20 years later. This was David Sylvian's first solo work after Japan's break-up, and he allowed himself to be much more revealing. The lyrics are deeply personal and spiritual. The musical style I'd describe as jazzy-ethereal-poppy. I also found it more positive and uplifting than I remembered (it obviously bends to many moods). I'm now on a Japan kick (I know that DS has been dismissive of Japan but I think they were wonderful, especially in the last couple of years). Anyway, Brilliant Trees: a modern, quite brilliant album. I'll be listening to this for a long time to come.

There are few records that keep me interested year after year. It's always quite difficult to find out which it will be or how they manage to. I guess it is all about leaving mysteries. Something you don't quite understand, and still don't after 100s of listenings. "Brilliant trees" is one of these fantastic albums and I've felt this since I first heard it in 1986. I always seem to come back to it, no matter where I'm taken. It's a safe home of extreme beauty and musicmanship. A timeless masterpiece that does not show which decade it was made in.

If I should point my finger at something it would have to be the inclusion of "Pulling punches", a great funky track. Not that it isn't good, it just somehow doesn't fit the sensible nature of the rest. But it's easily forgotten and forgiven in the light of the titletrack, my favourite track of all time, I guess. There's always a nostalgic tear on its way when listening to it. Thank you, David. Hope you can top this one day.

After Japan had finally recorded an album that realized their talents (1982's "Tin Drum", far and away their best work), they did what so often happens to bands on top of the world (in a fashion). They broke up. Bassist Mick Karn released a quirky, Middle Eastern solo record and began recording with former Bauhaus vocalist Peter Murphy. Shortly thereafter, vocalist and principle songwriter David Sylvian returned with his debut, 1984's "Brilliant Trees".

Often revered by people who were listening back then (I was six, so I was not), "Brilliant Trees" is a brave and exciting album. Like his work with his previous band, Sylvian is prepared to turn his back on his previous accomplishments-- gone are the pseudo-Eastern trappings of "Tin Drum", replaced with a jazz sensibility. Gone is the slithering bass and wailing sax of Mick Karn, instead an atmospheric swirl, or a funky backdrop (depending on the song), carefully constructed by Sylvian and collaborator Holger Czukay, and brass leads (provided ably by Czukay, Kenny Wheeler, Jon Hassell or Mark Isham) dominate the record. And yet, it feels like the followup to "Tin Drum" in it's own way-- certainly Sylvian's voice, while it has gained a depth to it, maintains its distinctive smokey baritone that he was developing, and the presence of Japan drummer Steve Jansen, whose subtle and tasteful playing so delicately worked on "Tin Drum", works here as well. And with appearances by Japan keyboardist Richard Barbieri, frequent collaborator Ryuichi Sakamoto, and producer Steve Nye, there's a sense of continuity.

"Brilliant Trees", as one suspects, excels when Sylvian reaches beyond the sound of Japan-- in fact, Sylvian's penchant for jazz-tinged ballads, which would come to bear so strongly on "Secrets of the Beehive", is pretty apparent here-- no more obvious is it than "Nostalgia". The standout cut on the album-- it features a confident vocal, a great, subtle arrangement with a blazing flugelhorn solo courtesy of Kenny Wheeler, and some superb hand drumming from Jansen. But more often than not, there's a feeling of a lack of confidence in the material-- "Weathered Wall" is a beautiful ballad, but Sylvian's voice sounds a bit tentative and unsure. Still, while this sort of tentativeness is present in part throughout the record, it lends a nice edginess to some of the pieces such that they excel from it ("The Ink in the Well"). And certainly, no lack of certainty is present on the closing title track, and even if it was, there's little that could stop that piece from being as much of a triumph as it is. The only track that really doesn't do it for me is moody ballad "Backwaters", which just feels totally lifeless to me.

This remaster finally gives the album the sonic update it deserves-- put simply, it sounds like it was recorded yesterday with the original cover artwork intact.

Invariably though, the album suffers from being the followup to "Tin Drum", regardless of how it should stand on its own, and it also suffers, as a point in history, from being the weakest of Sylvian's three vocal albums of the '80s, and both of these things effected my rating of it. Having stated that, it's probably the strongest three star album in my collection. Recommended.

One of the excellent forces behind Japan, one of England's best bands. How many of ex-japan members are assisting I'm not sure. But up till now the creative forces are still there and the need to create innovative excellent music. David's unique voice and the underpinning's of excellent musicianship. Take for instance the trumpet solo (could be coronet not sure) on Nostalgia. The rock sounds on Red Guitar with the excellent Bass w overtones backbeat, coupled with the Piano interplay, leading into Davids great guitar work. One of Japan's greatness was the suptle interplay of sounds at times that had a great simplicity and D. Sylvians carrying on that tradition here. Take for example the synth sounds on Backwaters. This is not merely a copying of what othersare or were doing. The whole album is very solid.

While 'Secrets of the Beehive' is perhaps the better album, 'Brilliant Trees' is the most like Japan, hardly surprising given that it was Sylvian's first solo album following Japan's breakup. This is probably the most pop-oriented solo album as well. Any fan of Japan will be pleased to have this for listening (I recently listened to it again and it was even more enjoyable than when I got it upon release).

This album was purchased to replace on old CD that finally died...lol!
I am a drummer you see, and the opening track, 'Pulling Punches', is just one of the funkiest Rock tracks I know of...a great groove, and some excellent music all round. The 'trumpet' solo in particular stands out as a great part of the song too. David Sylvian has a great voice, and the whole album is a great example of the then contemporary Rock that he played, both solo, and as the lead singer with the band Japan!

Along with "Gone to Earth" and "Secrets of the Beehive," I have to nominate this as one of Sylvian's greatest CDs. There seems to be a common feeling that Sylvian's work stands the test of time as music that wears well over the years and never loses its appeal. Somehow, in both music and lyrics, Sylvian goes beyond the personal and taps into a well of universal feeling with songs based in a pop-rock style, but overlaid with impressionistic washes of sound and color and occasional jazzy trumpet riffs. Often intensely thoughtful and nostalgic, and beautiful, this is music that penetrates deep into the consciousness and leaves its mark, but despite the depth of feeling, is never maudlin or overly sentimental. Just great music.

First off, the sound on this Japanese release seems great--unlike the Japanese remastered versions of "Gone to Earth" and "Secrets of the Beehive," both of which end up sounding thinner and brighter. This one sounds more detailed, more textured, but also very smooth and full. Great job.

There seems to be a common feeling that Sylvian's work stands the test of time as music that wears well over the years and never loses its appeal. Somehow, in both music and lyrics, Sylvian goes beyond the personal and taps into a well of universal feeling with songs based in a pop-rock style, but overlaid with impressionistic washes of sound and color and occasional jazzy trumpet riffs.

I have to agree with Durand. David Sylvian created a gorgeous ghost of an album with 'Brilliant Trees'. Check out 'Red Guitar' or 'Ink in the Well'. The jazz influences are kept in check, adding texture, not running loose. Jon Hassel's disembodied horn quivers and floats through the title track and 'Weathered Wall' while Sylvian's wounded croon paints a testimony.
There are no stinkers on this album. Japan pinnacled with 'Oil on Canvas' but David Sylvian made a leap forward with this one.