David Sylvian Approaching Silence CD

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

Personnel: David Sylvian (guitar, synthesizer, samples); Robert Fripp (guitar); Frank Perry (bells, bowed gong).
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.
The "unofficial" subtitle of this CD is "music for multi media installations." All that to say that the songs on this release date back to 1990 and were used as part of Sylvian and Russell Mills' exhibit Ember Glance-The Permanence of Memory (1990) and 1994's Redemption-Approaching Silence, which was done by Sylvian and Robert Fripp. Since the music is ambient at its finest, the dates of recording do not matter. The question is does this music stand up on its own, apart from the exhibit. The answer is a resounding yes! Sylvian produces original and interesting ambient music. The selections are long ("Approaching Silence" is over 38 minutes long) yet never get boring. It is to Sylvian's credit that he can keep the listener interested for that long with this genre of music. Sylvian uses instruments and sounds to create his own creative ambient music. The short-wave samples, for example, add an eeriness in "The Beekeeper's Apprentice," which adds to the overall sound of the piece. This music is not for every taste, but fans of Sylvian and ambient music will find this to be a treat. ~ Aaron Bagdley
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.

Alternative Press (5/00, p.108) - 4 out of 5 - "...An ambient project that echoes Brian Eno's understated recordings from the '70s....this once-background music translates well as a pure listening experience....ethereal entertainment of the highest order."
The Wire (1/00, pp.91-2) - "...[His] guitars, synthesizers, short-wave and samples blend with, or soak alongside, firstly Frank Perry's bowed gong and finger bells and, on the title track, Robert Fripp's frippertronics....[the results being] diffuse Chinois wallpaper motif..."