David Sylvian - Everything and Nothing CD

Everything and Nothing buy CD music There's a breed of (post-1980s) bands with the same degree of grand rock experimentalism as Pink Floyd and Yes, who simultaneously adhere to the concept of concise songwriting. Porcupine Tree is one such band--their sound is a balance of lush ambient textures, charming vocal harmonies, rock & roll directness, and acoustically- and electronically-generated sounds. Their debut IN ABSENTIA shows all these elements in place, rich with the likely possibility of them becoming a contemporary counterpart to Pink Floyd. Hailed by Billboard as 'cinematic...simple gorgeous', Porcupine Tree are unquestionably one of the UK's most inspired and inventive rock groups. In Absentia is their eagerly anticipated Lava Records debut. Digipak. 2002. Recorded at Avatar Studio, New York, New York between March & April 2002. Porcupine Tree: Richard Barbieri, Colin Edwin, Gavin Harrison, Steven Wilson. Personnel: John Wesley (guitar, background vocals); Julian Leaper, Perry Mason, Warren Zielinski, Mark Berrow, Katherine Shave, David Woodcock, Rebecca Hirsch, Paul Willey, Ben Cruft, Boguslaw Kostecki, Rita Manning, Everton Nelson, Johnathan Rees, Gavyn Wright, Jackie Shave (violin); Gustav Clarkson, Peter Lale, Kate Musker, Bruce White (viola); Chris Laurence, Mary Scully (double bass). Audio Mixer: Tim Palmer. Recording information: Air Lyndhurst, London, England (03/2002-04/2002); Avatar Studio, New York, NY (03/2002-04/2002); New Rising, Colchester, England (03/2002-04/2002); No Man's Land, Hemel Hempstead, Hertfordshire, England (03/2002-04/2002); Red Room Recorders, Tampa, FL (03/2002-04/2002). Photographer: John Blackford. Unknown Contributor Roles: Gavin Harrison; Richard Barbieri; Colin Edwin. Arranger: David Gregory. Additional personnel: John Wesley (vocals, guitar); Aviv Geffen (background vocals). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Everything and Nothing album for sale Considering their cinematic scope, it's fitting that the songs on DEADWING were actually inspired by a film script written by Porcupine Tree mastermind Steven Wilson. Not that this should come as any surprise to longtime fans who know the UK act's reputation for churning out epic progressive rock so sonically descriptive that it's practically visual. Porcupine Tree creates works with complex structures that do not alienate or obscure the songs themselves, pieces that are dark and psychedelic without being sinister. On the 12-minute opening title track, weighty guitar riffs and spacious synths immediately recall Nine Inch Nails, but swooping melodic changes give way to ambient passages, making it plain that this is no industrial-rock rip-off. "Arriving Somewhere But Not Here" begins with processed backwards guitar, building into a harmony-fueled crescendo before dropping off completely to reveal sparse picking over loops and clicks. Guests Mikael Akerfeldt (Opeth) and Adrian Belew (King Crimson) contribute vocal harmonies and guitar, respectively, and the disc comes enhanced with behind-the-scenes video footage as a bonus feature. Live Recording Audio Mixer: Steven Wilson. Recording information: Astoria, England (??/2003-10/2004); Bourne Place, The Artillery (??/2003-10/2004); Livingstone, England (??/2003-10/2004); New Rising, England (??/2003-10/2004); No Man's Land, England (??/2003-10/2004); Rak, England (??/2003-10/2004); The Artillery, England (??/2003-10/2004). Photographer: Lasse Hoile. Porcupine Tree: Steven Wilson (bass instrument); Gavin Harrison, Richard Barbieri, Colin Edwin. Personnel: Steven Wilson (vocals, guitar, hammer dulcimer, piano, keyboards, bass guitar); Mikael Åkerfeldt (guitar, background vocals); Adrian Belew (guitar); Richard Barbieri (keyboards, synthesizer); Colin Edwin (bass guitar); Gavin Harrison (drums, percussion).

Everything and Nothing CD music When Robert Fripp & Brian Eno first collaborated in the 1970s, they had already made art-rock history with King Crimson and Roxy Music, respectively. Nevertheless, they broke further ground by creating some of the earliest examples of ambient music over the course of two classic mid-'70s albums. Some three decades down the line, after the music world had long been irrevocably altered by their inventions, the pair reconvened for THE EQUATORIAL STARS. While the spirit and basic intent is similar to their earlier recordings, we're obviously hearing an older, wiser Fripp and Eno here. Any hint of stridency is gone, as this is the spaciest, most ethereal of the duo's three records. Where Fripp's guitar once buzzed and hummed like it might take off, rocket-like, at any moment, here it glides serenely through the clouds of Eno's feathery, hypnotic electronics. Though occasionally bearing a darker undercurrent than most contemporaneous ambient recordings, EQUATORIAL STARS is as lush and transporting as anything you're likely to hear. Personnel: Robert Fripp; Brian Eno. Photographer: Marlon Weyeneth.

Everything and Nothing songs Probably the most commercial release that David Sylvian has ever been involved with, Nine Horses still manages to sound unlike any other album out there at the moment. Breaking boundaries, fusing styles and yet delivering beautiful pop melodies and stunning vocals on songs that Sylvian fans everywhere are bound to fall in love with. Nine Horses brings together Sylvian, his brother Steve Jansen (ex-Japan) and the well respected Burnt Friedman. The trio have created a suite of remarkably poignant songs that are part social commentary and part self-analysis. Sylvian and his collaborators have never sounded better nor the material more immediate. Other guest contributors include: Ryuichi Sakamoto, Stina Nordenstam, Arve Henriksen and many more. This album's sound is expanded, maximalist, full, rooted in traditional song structures like some of Sylvian's classic solo albums like "Brilliant Trees", "Secrets Of The Beehive" and "Dead Bees On A Cake". David Sylvian/Nine Horses: David Sylvian; Steve Jansen, Burnt Friedman. Personnel: David Sylvian (vocals, keyboards); Marcina Arnold, Stina Nordenstam (vocals); Tim Motzer (acoustic guitar, electric guitar); Riff Pike III, Joseph Suchy (electric guitar); Theo Travis (flute, saxophone); Hayden Chisholm (clarinet, saxophone); Thomas Hass (saxophone); Arve Henriksen (trumpet); Ryuichi Sakamoto (piano); Burnt Friedman (toy piano, keyboards, synthesizer, vocoder, pans, programming, drum programming, loops); Steve Jansen (keyboards, drums, percussion); Morten Gronvad, Carsten Skov (vibraphone); Keith Lowe (double bass); Derek Green, Tommy Blaze, Andrea Grant (background vocals). Audio Mixers: David Sylvian; Steve Jansen; Burnt Friedman. Recording information: 1 K Recording Studio, Philadelphia, Unites States (2001-2005); Cologne, Germany (2001-2005); Eden Studios, London, England (2001-2005); First Floor Rec., Copenhagen, Denmark (2001-2005); Miloca 3, London, England (2001-2005); Samadhisound, Unites States (2001-2005); Sphere Studios, London, England (2001-2005); UTS Sound Studio, University Of Technology, Sydney, Aus (2001-2005). Editor: Burnt Friedman. Arrangers: David Sylvian; Steve Jansen; Burnt Friedman.

Everything and Nothing album for sale Damage is derived from the closing shows of the 1993 Road to Graceland tour, which heralded the collaborative reunion of King Crimson's Robert Fripp (guitar) with David Sylvian (guitar/keyboards/vocals), the former leader of Japan. This hour-plus set finds Sylvian in tremendous voice and Fripp sonically enveloping spaces and respecting silences in a bout of well-manicured fretwork. The pair is augmented by soon-to-be Krim members Pat Mastelotto (drums) and Trey Gunn (Chapman stick/vocals) as well as former Martha & the Muffins axeman Michael Brook (guitar). The contrast in styles from Fripp's ethereal Soundscapes and edgy guitar inflections to Sylvian's smoother and refined demeanor is reminiscent of Brian Eno's early collaborations with Roxy Music. The fact that both know how to manipulate the spaces between the notes unites them further. Damage is full of those moments; so many, in fact, it is amazing that Fripp and Sylvian do not make the time to work together more often. "Firepower" contains a premier example of exactly how each craftsman is able to compliment the other. Fripp's extended solos at the end of the piece are definitive and singularly his own, yet the context in which he approaches his role as soloist yields an overwhelmingly palpable symbiosis between music and musician(s). Likewise, listeners who consider Fripp a calculated and overtly technical guitarist might be shocked by his cerebrally funky additions to tracks such as "God's Monkey" and "20th Century Dreaming (A Shaman's Song)." The syncopated nature of the melodies allows for a great deal of interplay and collaboration between Gunn and Mastelotto -- a trait they'd further incorporate into the mid-'90s version of King Crimson. ~ Lindsay Planer An astounding 1960 seldom heard performance by the Miles Davis/John Coltrane quintet! It presents one of the few 1960 recordings by the legendary formation in its only European tour, before Coltrane's departure to form his own band. The bonus track comes from a rare radio broadcast and presents an incredible extended version of Miles's tune "Milestones" featuring tenor saxophonist George Coleman, pianist Herbie Hancock, bassist Ron Carter & drummer Tony Williams. Recorded live in December 1993. Personnel: David Sylvian (vocals, guitar, keyboards); Robert Fripp (guitar); Trey Gunn (vocals, Chapman stick); Michael Brook (electric guitar); Pat Mastelotto (drums). Audio Mixer: David Sylvian. Recording information: London, England (12/1993). Personnel: David Sylvian (vocals, guitar, keyboards); Trey Gunn (vocals, Chapman stick); Robert Fripp, Michael Brook (guitar); Pat Mastelotto (drums).

Everything and Nothing CD music Originally conceived as music for multi-media installations, as an audio-only experience Sylvian's album provides us with a soporific dose of ambient sounds. The title track is made up of cyclical motifs of bells and sustained chords reverberating like ripples on a pond, punctuated by a rich gong-like guitar chord. This is suffused with hushed animal calls, fragments of fuzzy talk-radio programmes and the garbled falsetto of contributor Robert Fripp. "Epiphany" takes sampled material of passing trains and hushed church bells and a plaintive human wailing phrase to make an all-too-brief interlude. Continuing in much the same atmospheric vein "The Beekeeper's Apprentice" is a summer doze in a wooded glade. Imagine chandeliers tinkling in the warm breeze and half-hear the faint sound of a distant civilisation. The hypnotic doze is peppered by shards of muted feedback buzzing in and out like an inquisitive bee, associating the music with its title. Bearing in mind this music was intended to accompany art installations it does work as an ambient album. It has less variety of sounds than, for example, the KLF's CHILL OUT but this disc serves to transport the patient listener to a calm and tranquil place. Out-of-print in the US. This release features Ambient music that the former leader of Japan recorded between 1990-94. The three long tracks on Approaching Silence were recorded in both London and Minneapolis and were originally commissioned, conceived and used for art exhibits that Sylvian and friends were involved with. Features musical assistance from guitar legend (and King Crimson leader) Robert Fripp. Three tracks, 'The Beekeeper's Apprentice', 'Epiphany' and 'Approaching Silence'. Highly recommended to Sylvian, Fripp and Ambient music fans. EMI Recorded in London, England and Minneapolis, Minnesota between 1990 & 1994. Personnel: David Sylvian (guitar, synthesizer, sampler); Robert Fripp (vocals); Frank Perry (bells, gong). Recording information: Atma Sound, Minneapolis, MN (1990-1994); Autonomy, London, England (1990-1994); Metropolis Studio (1990-1994). Photographers: David Sylvian; Shinya Fujiwara; David Buckland; Ari Marcopoulos; Anton Corbijn. Personnel: David Sylvian (guitar, synthesizer, samples); Robert Fripp (guitar); Frank Perry (bells, bowed gong).