Search - Nine Horses :: Snow Borne Sorrow

Well Worth The Wait

B. Huck | New Jersey | 10/26/2005

(4 out of 5 stars)

"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.



"

A Mix of Emotions

joycircuit | 10/25/2005

(4 out of 5 stars)

"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."