Customer Reviews

Secrets of the Beehive (Dlx)

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Over the years, when I'm asked to name my favorite album, there's one that I keep coming back to-- David Sylvian's "Secrets of the Beehive". Without a doubt Sylvian's masterwork, this album is breathtaking in its power. Sylvian, with an array of talented musicians (including frequent collaborator Ryuichi Sakamoto who arranged string and horns, guitarist David Torn, trumpeter Mark Isham, bassist Danny Thompson, and drummer as well as ex-Japan bandmate and Sylvian's brother, Steve Jansen), constructed a record of such stunning and fragile beauty that it really must be heard to be appreciated.

The album is all about mood- the selection of instruments largely assists in this-- upright basses, pianos, strings, acoustic guitars, hand drumming, all setting an environment of melancholy and longing-- Sylvian's tenor, having assumed a depth quite any other vocalist, is mesmerizing-- he conveys the mood of the pieces often with a style that seems contradictory to the intent, but somehow it works.

Lyrically, this is also Sylvian's best, and is the kind of material that you talked about when you were in high school and pop lyrics mattered. Somtimes he uses metaphor to great effect (often about oceans and rain), althought much of the time its a direct expression. I'm not going to try and analyze them or discuss why they're great, let me just quote a few moments and you can consider for youself: "we say that we're in love / but secretly wishing for rain" ("September"), "but all the hurdles that fell in our laps / were fuel for the fire and straw for our back" ("Orpheus"), "listen to the waves against the docks / I don't know where they've been / I'm waiting for the skies to open up / and let the happiness in" ("Let the Happiness In").

As far as the tracks themselves, largely its a downbeat affair, but there are islands of hope and excitement, though mostly of longing throughout-- take "Orpheus", a magically uplifting piece-- if Sylvian's lyrics and delivery don't get you, Isham's brilliant and delicate solo certainly will. Ditto for "Let the Happiness In". a melancholy vocal over brass arrangement as Sylvian sings of hope, puncuated again by Isham's horn and eventually underscored by delicate hand percussion that prods without getting in the way. But the mood is primarily dark, from child violence (the eerily prophetic "The Boy With the Gun") to living with (and accepting) substandard lives (the brilliant "When Poets Dreamed of Angels") and near total despair ("Waterfront"). Perhaps though what makes this album so remarkable is that all the tracks are standout-- there's nothing on here thats not just superb.

The 2003 reissue adds to the record "Promise (The Cult of Eurydice)", a delicate little piece largely voice over acoustic gutiar with organ at the bridge that was originally only on the Japanese release only adds to the album. The artwork is beautiful as well, with the album contained in a gatefold digipack, and sonically, its crisp, clear and could have easily been recorded yesterday.

The bottom line is, this album is some of the best music ever recorded. I can't say enough that everyone should hear it. This is essential.

This work came to my attention by coincidence only a few months after its original release 1987. Prior to that, I had enjoyed some of Sylvian's work with Japan. His first two solo albums were, however, somewhat boring. A few tracks on each one were focused but too many lacked direction.

That changed dramatically on Secrets, an album hardly without a misstep. It is for the most parts rather slow and soothing, simple instrumentation, often in an experimental style with jazz elements on some of the tracks. Standout tracks are hard to define, they have changed in my opinion through the years. The lyrics wander between hope and despair, domestic rage to the joy of life.

This is without doubt one of my favourite albums through the years. Listening first to it at the age of 22, I remember vividly the strange emotions the album's contradictions had on me. Despite being anything but a album full of catchy tunes, it struck a chord within me immediately.

I am not alone in that opinion, I was surprised seeing so many people stating similar thoughts on Amazon, given it was a commercial failure. I must admit that I haven't enjoyed any other Sylvian album since in its whole, although Dead Bees On a Cake had some splendid moments and his collaboration with Holger Czukay, Plight and Premonition, provides an ethereal listening experience.

The original CD version had one enormous problem; the hiss in the recording overshadowed often the sound (or lack of it). Listening to that version often made one wish that better care would have been taken of such delicate music. This re-mastered version improves that anomaly to an incredible extent. The sound becomes richer and the whole listening experience becomes more fulfilling.

The CD cover has the same artwork but in the so-called digipak. It is well done. An unnecessary poster (mini one obviously) is also included. Added lyrics or written thoughts about the album would have been welcomed.

A debated change has also been made with the album's final tune. Forbidden Colours has been dropped to be replaced by Promised. For my part, I wish that Promised would have been simply added in the end. The end result is still very satisfying. Those interested in buying this album really should invest in this more expensive version, the sound quality is overwhelmingly better and worth the difference in price.

This album can quite literally put your mind in an altered state. This is a fact. Almost drug-like. The degree of beauty and staggering power that David Sylvian's Secrets of the Beehive offers is simply unavailable elsewhere. Nothing I've ever heard comes close to approaching this gorgeous work of art. Nothing else. Not even close.

In this album, Sylvian's deep/haunting/timeless lyrics are only matched by the awe-inspiring musical atmospheres that they weave through. The sound is very cinematic with its variety of musical textures -- very visual stuff, even before Sylvian's words perfectly augment the scene. Do you really "see" shimmering water during the piano solo in Orpheus? Does the string and piano tag of at the end of September somehow really "sound" like summer ending? Do you "see" a gentle ocean fog and gulls in your mind's eye during Let the Happiness In? Reality check -- I am aware that if you haven't heard Secrets of the Beehive, what I just wrote sounds incredibly stupid, but for those who know this album well, they are probably nodding in recognition. But even those beautiful "visuals" are only tiny little elements of a whole vast world created here. And it only gets better with repeated listening. By the way, that's when you really know it's art -- when not only does it NOT burn-out, but continues to grow deeper everytime you hear it. That is what you get with Secrets of the Beehive.

One major criticism: The record label (once again) insisted on throwing an extra track at the end of this CD (this time it's "Promise" last time it was "Forbidden Colours"). It's kind of like painting a goatee on the Mona Lisa. The original release had only 9 tracks, and ended with the song "Waterfront." This is how the album should be played to achieve its perfect balance and for you to find yourself in a daze when silence arrives after its intended ending line, "...Is our love strong enough?"

If you really want this CD to overwhelm you though, either program your CD player to repeat just the first 9 tracks, or burn a copy on a CD-R with just those 9 original songs -- then set the player to repeat, and prepare to luxuriate in a listening experience to be found nowhere else. And because the original 9 songs make such a short album (just over half an hour), repeated listening in one session is not only recommended, but it is an absolute must. Buy it and ENJOY!

Despite the praise of friends,I always wrote David Sylvian off as a precious Bowie clone. While I often found a few things to admire on his albums, I generally find his introspective instrumental work to be mind numbingly dull. For instance, I loved the ballads, "Laughter & Forgetting" & "Silver Moon" off GONE TO EARTH, but the rest sounded like a narcaleptic New Age version of Bowie's LOW. So no, I am not a fan per se.

Without a doubt, SECRETS OF THE BEEHIVE is the best thing he's ever done. It's gorgeously lush & beautifully arranged. Think of a cross between Nick Drake's PINK MOON & Roxy Music's AVALON, with a litte Scott Walker for good measure. Lyrically, the charms of Old Europe come to mind.

"September" captures the mood of encroaching Autumn beautifully. It's like meeting with your soon to be ex-wife at some Venice cafe while the gloom of an overcast Sunday turns slowly into dusk.

"Boy With A Gun" seems like it was ripped from the notebook of French writer, Jean Genet and "Maria" sounds like it was invoked at the bottom of an abondoned well.

Meanacing is not a word I would normally use to describe Sylvian, but "When The Poets Dreamed Of Angels" is harrowing. Domestic unrest coming to a fore with the whispered words, "next time I'll break every bone in your body".

For fans of existential angst, "Let The Happiness In" & "Waterfront" bring lonely boulevard ennui to an artform. These last 2 cuts in particular bring the manic depressive waltzes of Scott Walker to mind.

Eventhough I find a large body of Sylvian's low profile work unessential, I certainly have a different mind about this gorgeously realized record. If you're a fan of any of the names I've mentioned above, this one's definitely for you.

The Secrets of the Beehive is getting up there in years (15-20 now), yet has maintained its postion as the one CD I can't live without. It really is one of those rare gems that should be sought out, and listened to over and over again. Sylvians beautiful voice is the focal point of every piece, and has never been better, or more perfectly controlled. The arrangements are well paced, each establishing a unique mood, and the level of musicianship is amazing. This is not jazz, new age, nor rock, but somehow encompasses all of these genre. Do yourself a favor...get out the credit card, buy this CD, and start enjoying this masterwork now!

After Japan dissolved,singer David Sylvian embraced ambient music with open arms,as evident by all his solo work. Preceeded by the superb Gone To Earth and Brilliant Trees,it is here on Secrets..that Sylvian's music is fully realized and demonstrated with luscious arrangements.From the opener September to the closing track The Promise we're taken through a journey were jazz tinged rhythms,acoustic guitars and pianos all combine to create a dark but atmospheric soundscape.The best tracks are in my opinion Orpheus,Maria,Devil's Own and Boy With The Gun.For those of you who own the original 1987 version of this album will definitely miss the omission of Forbidden Colours on the reissue. Instead we're offered Promise(The Cult Of Eurydice) as a replacement.This album grows on you with time.Give it a few listens and you'll be moved by the whole listening experience.

Great works of art are efficient: the artist only includes that which is necessary to achieve the final feeling. Sylvian's previous effort "Gone To Earth" showed what he was capable of, but it sounds busy compared to the stripped-down beauty of "Secrets Of The Beehive."

All good, item supplied as described and in good time. Very good condition and plays fine.

To watch the career of this spectacular artist and his ground breaking contributions into the world of music, one has to be full of respect. At least I am. I have been following the work of David Sylvan first as part of Japan and then his solo career with an occasional side project under Rain Tree Crow and then Nine Horses for 30 years now. Every time he explores a new territory it is done with passion, grace and ease, as if it was just a matter of course that musicians develop and connect new styles and genres and whichever new areas they approach they master them at once. Labeling David's music has been a difficult task for many. Japan was being characterized as glam rock, new wave, synth pop, post punk, but neither one of these term fits very well, because the avant-garde aspect of their style and the uniqueness of their sound made their music too different to compare to any earlier or contemporary releases and too difficult and obscure for others to copy or follow. Brilliant Trees and Words With The Shaman was definitely a break with the past and a step towards the exploration of this other side of life Japan was aware of without a doubt. To classify the music, again, it was difficult because the elements of ambience were fused with tribal magical overtones but the music was also approaching the experimental territories. David's next steps seemed to have been influenced by jazz music somewhat, which has escalated his search for harmony and ambience into a frontier landscapes again. Gone To Earth (1986) was the album mixing the atmosphere of its predecessor with the mood of the album I'm reviewing. I am choosing Secrets Of The Beehive (1987), a middle of the road album in the career of this spectacular artist as my favorite one, but I could just as well pick any other one between 5 other ones I can think of, and call it that. Besides David's earlier albums I really like the music of Rain Tree Crow (1991), as well as his very ambient Approaching Silence (1999), and Camphor (2002) including its spectacular music placed on a bonus cd. Japan probably requires another review but the albums I most often come back to are the compilation Exorcising Ghosts (1984) as well as Obscure Alternatives (1978) and Quiet Life (1979).

Secrets Of The Beehive is probably the most acoustic of all of the above projects and if there were no lyrics here we might even feel light and optimistic while listening to these songs. However, the words come from an obviously dark and troubled interior. On some strange level it almost feels like David is completely used to his agony and quite comfortable living with it. He is hoping for happiness but at that stage of his life would he really know what to do with it? I find this album of the opposing energies coming to some strange equilibrium. Personally I am definitely not bothered by dark thoughts coming to us from the mind of David Sylvian. I am much more affected by the lightness of this music and the overall beauty of his...exposure. It seems like the involvement of Ryuichi Sakamoto is quite substantial here as well on the earlier albums of David Sylvian. I am a big fan of Ryuichi's music and yes, I feel and appreciate his energy here. Here are some of my favorite songs by David Sylvian: The Banality Of Evil, The Tenant, Let The Happiness In, Pt. 1 Ancient Evening, Nightporter, Premonition (Giant Empty Iron Vessel), The Other Side Of Life, Dobro # 1, Blackwater, Red Earth (As Summertime Ends), Suburban Berlin, The Song Which Gives The Key To Perfection, The Healing Place, Every Colour You Are.

I don't need to comment further on how great and satisfying this music is, over and over, year after year.

But I want to weigh in on the quality of remasterings of David Sylvian's music. I've purchased several "remastered" versions of several different albums from different sources. This one turned out to have been manufactured in Holland, and the sound was GREAT--a distinct improvement in terms of clarity, presence, and texture over the original. That is not true of remasterings from all sources, however. My experience has been that the Japanese remasterings (I have "Gone to Earth", "Brilliant Trees," and "Beehive" in Japanese editions) are not improvements. The may sound a little more "detailed," largely because the highs are overemphasized, while the midrange lacks warmth and presence, and the bass is thin. I'd say stick with the originals or CDs from other sources rather than the Japanese editions.