27.10.15: Permalink » Pre-order the second edition of Playing The Schoolhouse
The second edition of ‘Playing the Schoolhouse’ will be released in December 2015 by Confront Recordings. A new CD EP length composition by David Sylvian recorded in March of this year in Norway, ‘Playing the Schoolhouse’ is based on an improvisation by Jan Bang and Sylvian. It also features contributions from Otomo Yoshihide and Toshimaru Nakamura.
21.10.15: Permalink » Playing the Schoolhouse – second edition
There will be a second edition of ‘Playing the Schoolhouse’. It too will be limited, necessarily so. If you’d like to be placed on the list of possible recipients please write to Mark at firstname.lastname@example.org to register your interest. Confront will inform applicants of a publishing date for the second edition in due course.
14.08.15: Permalink » Samadhisound announces Hypergraphia: The Writings of David Sylvian 1980–2014
Samadhisound is pleased to announce Hypergraphia: The Writings of David Sylvian 1980–2014, a comprehensive collection of his lyrics and poetry (many published for the first time), covering the thirty-five years of his career to date, framed by three interviews and accompanied by an exquisite collection of artwork curated or made by Sylvian. Art directed by Sylvian and designed by Chris Bigg. An immaculate and thorough retrospective, Hypergraphia’s organic structure and its juxtapositions of past and present, formal and personal, save the book from treating Sylvian’s career as a bust on a pedestal: instead, we see it as what it is – an extraordinary work in progress.
638 pages, hard back, full colour. Page size – 150mm x 225mm portrait.
Regular edition: £65.00.
Signed edition: £85.00 (the signed edition has sold out).
Hypergraphia is published in a limited edition of 3,000 copies. An edition of 500 signed and individually numbered copies, by Sylvian and designer Chris Bigg, has already sold out. Randomly included in the remaining 2,500 copies are 50 signed unnumbered copies. Available from 2nd November 2015, on pre-sale now. Click here for more information.
29.07.15: Permalink » Playing The Schoolhouse
Scheduled for a mid-September release on Confront Recordings; Playing The Schoolhouse, a new CD EP length composition by David Sylvian recorded in March of this year in Norway. Based on an improvisation by Jan Bang and Sylvian it also features contributions from Otomo Yoshihide and Toshimaru Nakamura. More news to follow soon.
17.03.15: Permalink » Record Store Day 2015
Record Store Day (April 18th) sees Universal release a 7” of ‘Bamboo Houses‘/‘Bamboo Music (2000 Remix)’. The release is limited to 1000 copies and is in a sleeve art directed by David, designed by Chris Bigg, and featuring images by Yuka Fujii. It contains a printed inner sleeve and, as with all of David and Chris’s design work, contains special inks and papers in the production of the cover.
15.12.14: Permalink » Seasons greetings
20.10.14: Permalink » ‘there’s a light that enters houses with no other house in sight‘
Samadhisound is proud to announce the release of David Sylvian’s new long form composition; ‘there’s a light that enters houses with no other house in sight.’ A unique collaboration with American Pulitzer Prize winning poet Franz Wright, featuring contributions from Christian Fennesz and John Tilbury.
The release will be available in three editions: A limited deluxe edition – now sold out – in an embossed cloth bound book featuring selected poems from Kindertotenwald as read by Franz Wright with contributions from three renowned photographers assembled by Sylvian to illustrate the edition.
The second edition – still on sale – is a digipak showcasing photographic artwork by Nicholas Hughes. The third is a digital download with extensive digital booklet. All art directed by Sylvian and designed by Chris Bigg.
”In September 2011, at the time of its publication, I read Franz Wright's Kindertotenwald. I was familiar with Franz’s earlier work but something about the subject matter of this collection resonated with me as if my psyche had momentarily found an echo in tune with, but more eloquent than, its own internal voice. There’s a knowledge of the world in Wright’s work (not world weary but wary of the false note, pulsing with a current that comes from bearing witness to what's ‘real’ whilst remaining vigilant of the tide of delusion and vanity that threatens to engulf us) that omits neither light nor dark but embraces both. Here’s a man who’s been to the other side and returned or remained to tell of what he’d seen, not without sacrifice, nor a wonderfully dark vein of wry humour… On embracing the offer of a brief tour with friend and collaborator, Christian Fennesz, I came to the conclusion that it was better to find a focus for the work prior to touring than to attempt a form of free improvisation. The starting point in my mind was Franz and Kindertotenwald…
I composed the bulk of the material in transit on a laptop with no additional hardware. I thought of the piece more as a remix of many sampled soundbites, granulated and looped, carefully distilled elements drawn together to form ‘movements’ which worked in support of and/or complimented Wright’s readings. Christian and I took a rough form of this composition on tour with us in Sept-Oct 2013. Once I’d spent enough time away from the blueprint I returned with the intention of elaborating upon the initial composition for future release. Christian recorded some of the beautiful additions he’d refined on the tour, John Tilbury brought his superior talents to compliment my own piano contributions and, with the addition of some samples from prior sessions with Otomo (Yoshihide) and Toshimaru (Nakamura), as well as some electronics of my own, the work was mixed, again, in transit as my life continued, indeed continues, to take unforeseen twists and turns.
Franz Wright has defied expectations and all prior prognoses and has returned from the precipice that is terminal cancer to a precarious, but passionately lived and thoroughly exploited, state of grace. He has been treated for lung cancer for four years now, and both he and his wife, Beth, have been through some incredibly trying times “…(which) I can only describe as like nothing I could ever previously have imagined, not even in dreams. Is death the mother of beauty? How one loves such huge sayings when young, and how oddly self-conscious they seem, logic dressed up in poetry’s clothing and thus ultimately shallow, like discussions about the unconscious which naturally cause it to flee. I cannot depict in any way the appearance of things in light of death’s imminence—With regard to writing itself, never have I felt such a wildly enthusiastic freedom , a willingness to try anything, a surefooted confidence that there is a perfectly simple and clear way, in a very small space, for a language conscious of its limitations and—I think of Orwell’s remark comparing good prose—I would add poetry, in many cases, ought to be like a window, one I suppose of crystalline spotlessness—the way it renders other things visible, beyond itself, not just itself…” – David Sylvian, June 24 2014
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