Customer Reviews

Snow Borne Sorrow

5 star:		(23)
4 star:		(8)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

David Sylvian has been as of late full of surprises. 2003's "Blemish" found Sylvian experimenting with minimalism, electronic noise, feedback, and loops, a brilliant and personal album. His latest effort, a collaboration with brother Steve Jansen and Burnt Friedman under the name Nine Horses, is quite the opposite.

In many ways, "Snow Borne Sorrow" is as much a logical successor to "Secrets of the Beehive" as "Dead Bees on a Cake". Or perhaps better still, it feels like the child of the unreleased "Little Girls With 99 Lives" material (some of which saw the light of day as b-sides to 'Dead Bees' singles) and 'Beehive'-- keeping the jazz-tinged sound and textures of the former but eschewing lush textures in favor of a '99 Lives'-like modern noir sound. In better words, its sort of like a modern, loose take on Sylvian's jazz-infected composition.

At its best, the pieces have an unnatural energy to them, from the loping bass of opener "Wonderful World" to the guitar-driven "Darkest Birds" or the bizarrely folky-filtered through Miles Davis "The Day the Earth Stole Heaven". But at times, the album seems to overreach, primarily in a couple overlong pieces as the title track and closer "The Librarian", neither of which particularly go anywhere. But on the other hand, something like "Atom and Cell" feels like a lifeless harmony-laden pop song that somehow manages to wholly captivate.

All in all, I find this a pretty mixed record-- at times satisfying, at times I lost interest. Then again, I didn't get "Blemish" at first, so maybe I'll change my mind in a dozen more listens. There's enough here to keep me coming back, but not enough to get me raving about it.

It all came together on this CD for David Sylvian. Vocally and lyrically I think this is Sylvian's best work since "Secrets of the Beehive." His baritone is confident and powerful and his lyrics are memorable, smart and melodic. The delicate jazz-inflected arrangements by Steve Jansen, Burnt Friedman, David Sylvian and others support the unconventional song structures and give the songs room to breathe and evolve over time.

This is one of those rare albums that get BETTER each time you play it.

I can't recommend this CD enough.

Wow...calling all Sylvian fans. this album is a true classic. For me it's an extension of the best tracks from Dead Bees...ie Thalheim, Wanderlust mixed with the lyrical poetry (not the minimal music) of Blemish. Full on sound production, very much in the Sylvian electro/jazz tinged/Eastern influenced style. Jansen's drumming is spot - on (as always) and there are some new elements, choir-like backing vocals, full blown uptempo chorus that could pass as a Depeche Mode crowd pleaser (Darkest Birds). this is absolutely Sylvian's best work since Beehive. A classic record that will grow in stature as more folks find out about it. That Sylvian is still somewhat unknown is both a crime and a delight. those of us in the know have our own little secret. if you ever have enjoyed any of Sylvian's work, you must own this album. Peace.

In many ways, Snow Borne Sorrow felt like a surprise. "Blemish" while very experimental, began to feel like a boldly decided direction; abandoning the lush, Scott Walker-esque melancholoy of his 80s solo work in favor of cold, white noise and electronic sound scapes. But then here came Snow Borne Sorrow. I'm not sure what other people are hearing, but these songs are definitely very well structured, well written, impecibly produced, with lyrics on par with Leonard Cohen (well, almost). Yes, it's an undeniably admirable record. Then why do I, a diehard fan of Sylvian for more than 20 years, find myself advancing through most of the songs on this record?

My immediate answer is that the songs are just too, too long and laden with meaning and heavyness. Not that Sylvian's stuff has ever been light fluff, take "Before the Bullfight" as an example. But missing here are the rich arrangements like Sakamato's contribution to "Beehive" or Fripp's huge guitar work on "...Bullfight" that lift the heavyness of the lyric or vocal styling into something warmer. The songs don't tend to move that much on Snow Borne Sorrow. They find a pattern and they stick with it for a long time. They feel as if they written on loops. Also, his voice, which I am utterly devoted to, is mixed entirely too high and never gives the music a chance to take center-stage.

What I find most redeeming about SBS are the lyrics. The wit and depth of image are superior to anything he's written before. Lyrically, it's the picture of an artist working at the peak of his abilities. On Seratonin, bed sheets become "mountain ranges at my feet." Harmony is new for Sylvian but it comes off strangely yet masterfully on the chorus of "Atom and Cell." But once again, not one song jumps out at me on this record and makes me say THIS is a phenomenal and perfect Sylvian song, the way "Talheim" or "Fire in the Forest" does.

Finally, it's worth it for any fan to pursue and ponder. As for anyone else, I'm not so sure.

After the radically stark departure of 'blemish', David Sylvian returns with a more conventional approach to music making in the form of this joint collaboration between he, his brother Steve Jansen, and keyboardist/vibraphonist/remixer Burnt Friedman.

WONDERFUL WORLD (Sylvian/Jansen) - an eerie jazz waltz featuring a vocal duet between Sylvian and Stina Nordenstam. their "she / he" back and forth lyrical scheme gives the song an overall feel somewhat akin to a Broadway musical show tune. Nordenstam sounds like a cross between Rickie Lee Jones and Shelley Duval playing Olive Oyl in the movie Popeye. an odd choice to open the disc.
DARKEST BIRDS (Sylvian/Jansen) - the "poppiest" track on the disc, with slight elements of electronica and a punchier kick to an extremely catchy chorus.
THE BANALITY OF EVIL (Friedman/Sylvian) - a prevalent 5/4 rhythm throughout this track gives it an odd feel that takes some getting used to and Sylvian's polyrhythmic vocal lines may take some time to entirely sink in, but they will do just that with repeated listening. this track has a tone and feel somewhat akin to the work of Peter Gabriel, not only in the rhythm and snaky guitar lines, but in the sinister backing vocals and 'grunts' that appear later in this extended track. the avant guarde soloing from the horns is an unexpected surprise.
ATOM AND CELL (Sylvian/Jansen) - a slow dirge in 6/8. the sinister backing vocals and polyrhythmic vocal lines from the last track continue here, and even in greater abundance. the horn arrangement, or disarrangement to be more exact, is a nice touch that adds even more confusion to the melancholia and disfunction of this plodding track dealing with the plight of the homeless. Ryuichi Sakamoto contributes some trademark piano melodies to the piece.
A HISTORY OF HOLES (Friedman/Sylvian) - another track in the odd time signature of five, with more free improvisational soloing from the horns, but the odd feel of this one is straightened out by Sylvian's smooth vocal delivery. though the music was primarily written by Friedman, Sylvian's lyrics seem to be a little more biographical than he is usually willing to offer up, dealing with childhood memories...mostly those he has chosen to block out during most of his adult life. It may take some listens to get the gist of this track, but this one is a gem.
SNOW BORNE SORROW (Jansen/Sylvian) - the harsh electronic sound of "blemish" makes a brief appearance during the introduction of this track until it smooths out into a gentle ballad dealing with divorce and the effect it has on a couple's children. Ryuichi Sakamoto contributes another notable cameo on piano and there is some fine string quartet orchestration.
THE DAY THE EARTH STOLE HEAVEN (Motzer/Friedman/Sylvian) - a folk/jazz hybrid that reveals itself to be the highlight of this release. Sylvian's voice is in such fine form on this track...possibly his best singing from this new century, even perhaps for the last decade or more. Unlike much of the repetitive nature of many songs on this disc, it is this song that allows drummer Steve Jansen the ability to utilize his strengths and rhythmic dynamics. guitarist Tim Motzer composed the music and Sylvian's melody is the most focused of all the selections. a perfect collaboration.
SEROTONIN (Friedman/Sylvian) - hey, who let Japan in? this track could serve as the modern day equivalent of Sylvian's former band circa 79-80. the initial reaction is joyful surprise, but then the intrigue quickly gives way to boredom and tedium. "oh dear oh me oh my" indeed. this track should have languished on the cutting room floor.
THE LIBRARIAN (Friedman/Sylvian) - a fleshed out version of the Friedman & Liebezeit track released earlier this year. it now has more of a pronounced groove due to the addition of drums and syncopated guitar riffs. the greater use of Friedman's vibraphone is similar to that of vibemaster Gary Burton's contributions on Bruce Cockburn's 'The Charity Of Night', and really adds excellent texture to the song. yet there may be a little too much going on when compared to the original take and the clutter of the additional instruments may have now taken away from the subtlety of Sylvian's delicate vocal delivery. but the song is still one of the stronger tunes on the disc.

I was highly anticipating this release as a return to form from the more experimental 2003 release, 'Blemish.' Though this is not credited solely as a David Sylvian effort, but as a collaboration with Burnt Friedman and brother Steven Jansen, it could easily be confused as one, as we see the return of familiar players Jansen and Sakamoto, as well as the tried and true use of a wide array of the eccentric, avante-garde musicians you have to come to expect on a typical Sylvian release.
The material, in general, does not disappoint. This is probably the most accessible and commercial Sylvian release to date, with Sylvian coming across as more relaxed and easygoing than ever. The trio and guest contributors come together to create a work that, not surprisingly, is colorful, enlightening and unique. The hooks, however, are still a bit sparse (aside from the straightforward pop track, 'Darkest Birds,') And the vocal delivery, while beautiful, often comes across as a bit monotonous.
If you are looking for another 'Secrets of the Beehive', 'Gone to Earth' or even the excellent 'Rain Tree Crow' project, you won't necessarily find it here. 'Snow Borne Sorrow' for the most part lacks the brooding romanticism that made much of Sylvian's prior solo work so emotionally moving. But, alas, as times and people change, so does the music. There is still much to be enjoyed from this album, as it tends to reveal more of itself on repeated listenings and continues to mark Sylvian and his collaborators as some of the finest musical artists of our time.

for all the sylvian fans who reviewed: did anyone notice that on "a history of holes" that david sylvian wrote one of his best lyrics? the beats and the rhythm drop out temporarily and david sings: when i was a boy/and i made mistakes/i was humiliated/till i knew my place. snow borne sorrow is a very good album. it may require one to listen to it a few times and to remember that david has an adventurous spirit. there is a feeling of completeness when listening to a recording artist who shares with you what you want AND need.

...Having waited until I was willing to pay the neccessary money required to acquire this more than essential release by the unique David Sylvian and company(ok I am a procrastinator to be truthful...lol), today I was thrilled to finally have it's ethereal sounds penetrate me.

But first I must back track...

...a few weeks ago I discovered Stina Nordenstam by sheer accident. Picked up a CD of hers and fell in love with her simple child like voice and sometimes cryptic lyrics. Did a web search on her. One such search had a pic of the Nine Horses cover of it. What? Why was Davids release here? It stated there that she contributed vocals to the opening track "Wonderful World". A magical moment for me. Somehow artists I like end up connected at times. Had a similar experience when I discovered Virginia Astley, another wonderful female vocalist and musician. Her wonderful "Hope In A Darkened Heart" has an incredible duet with David. Anyway this experience of the connection with Stina made me decide it was time to get Snow Borne Sorrow but I only wanted the Japanese CD since being the obsessive fan I am of David I must have everything. You understand I am sure...lol

Finally I located one at a reasonable price and it arrived today just at nap time! Ugggg...lol Put it in the player and laid on the living room floor. I liked what I heard. I won't go into any real review but will share something that occured after I closed my eyes for a little semi-slumber. But first I will say that in my opinion this is not only an amazing release but one only surpassed by "Secrets Of The Beehives". A smile occured as I listened in mellow slumber. Decided to let myself float away into the music and perhaps sleep(which I didn't). At some point in a restful state a track began with a sort of ragged beginning. I've only listened once and I was somewhat out so I am not sure if it was electronics or guitar but it was "ragged". I visualized descending down a rough terrain, perhaps a large rocky hill. It fit the music. I was into it. Suddenly it turned and became smooth and beautiful as a trumpet played softly and I found myself skating around on a frozen icy lake in pleasure. I imagined looking back from where I descended and saw snowy mountains. Continuing in glide and slide I heard the lyrics reference "Snow Borne" which truly was serendipitous. Wow, the title track.

Further tracks forward found me fighting sleep as I went in and out(not due to the music, mere sleep deprivation) but I remained slightly awake. At some point I heard Stina's voice again. Wait a minute. I thought she was only on the opening track? Huh? Not only that but she was singing alone with Davids voice not to be heard at all. This raised me up to get the CD insert(s) and look at what track was playing.

The BONUS track was playing and Stina finished out this beautiful release by Sylvian with her beauty. Stina bookends this great Japanese edition and she is worth the extra dough. Of course the artwork, the inserts, the usual Japanese quality that go into their CDs all make it worth it. David makes it worth it. If you are an eclectic music lover and particularly a lover of David you owe it to yourself to pick up a copy of this.

You might just float away into it...

I'm as big a Sylvian fan as they come, and have gone as far as flying half way around the globe to see his show. So I often listen to his work with patience not afforded to others. I didn't like Blemish at first. But after some time and a number oflistens, it grew on me; and now I'd have to say it's not only one of my favorite DS albums, it's pure genius -- breathing with an openess, clarity and spaciousness that is hard to find these days. I'm still waiting for Nine Horses to grab me, but it hasn't. Though I quite enjoy its Beehive-feel, and always am intrigued by DS's emotianal being that comes through in his autobiographial songs, these pieces feel a bit underdeveloped and over-produced at times. There ARE moments of brilliance, making the CD worth the price of purchase. But all in all, it feels like the work was rushed. My understanding is that Sylvian is still in the rebound of a painful divorce? While this becomes obvious in the songs lyrics (which I appreciate), it seems it has perhaps affetced the work as well?

Forget all of the "artspeak" that you will read about this album. When listening to something new, especially by an artist that you love, you ultimately have to ask yourself if it lived up to your expectations. I love Sylvian's music because it is always dreamy, beautiful, and tinged with a bit of sadness. "Snow Borne Sorrow" definintely delivers what I would hope for from an album by Sylvian- it is ethereal, thoughtful, a little offbeat, but ultimately a relaxing and gorgeous work- Sylvian again soothes you and brings you to that state of meditative relaxation that he is a master of producing. I never "got there" with "Blemish;" it was an interesting art piece but it felt like a preliminary sketch and not a finished work of art. "Snow Borne Sorrow" is wonderfully written and performed; the instrumentals are lovely and at times unusual, but they help to drive each song and they are fresh without being jarring. The instrumentals compliment Sylvian's fluid voice, and they move like waves that crash on the shore now and then- but they are never disruptive. It is the type of album that you always find something new in; each listen brings it more and more clearly into focus... once you start this disc, you will want to play it over and over; listening to every nuance.