The Art Of Everything And Nothing by Justin Hampton (Stereotype, Feb. 2001)
Blog
The Roar Of The Drone by Jon Kincaid (Stomp and Stammer, May 1999) David Sylvian returns.
The Art Of Noise by Ian Birch (Smash Hits, May 1984) What’s David Sylvian been doing since Japan broke up? Taking Polaroids, traveling, organizing an exhibition — oh and making a new record. “Art is my means of expression.” he tells Ian Birch.
by Nenad Georgievski
published 03.11.05 on davidsylvian.com
Rain Tree Crow" by Nigel Humberstone (SOUND ON SOUND, June '91)
by Hannah Jones, published on WalesOnline and in The Western Mail
exclusive interview by Gerrit Hillebrand
By Nick Coleman
By Sergey Chernov
by Darren J.N. Middleton
by Jason Cowley
by Craig Peacock The following interview took place in October 1994 at the P-3 Gallery near Shinjuku, one of Tokyo’s many shopping and business centres. The gallery itself is located in the basement of a temple. This is not as spiritual as one would expect, as it’s surrounded by ugly office and residential buildings. The clatter of modern life in
Wednesday, April 14, 1999 , Sylvian’s Bees buzzing again by DAVE VEITCH Transcript by John Sakamoto. Originally online interview (now defunct)
by A.D. Amorosi
Interview documentary for RollingStone.com by Adam Falik
by Tony Bonyata
by Anton Rush
This is the full version of an article written for a Canadian music paper (April, 1999), which the editor found too controversial for him to print. He told me I could not compare religions in his publication, and was unaware that they all stem from the same root myths. He would not let me state that Sylvian practices forms of
by Mike Gee. Originally published online on www.thei.aust.com.
by Josef Woodard
by Mark Prendergast Originally published in two parts; Record Collector April and May 1990.
Spurning Japanese by Simon Dudfield and A.J. Barratt (NME, Sep. 1991) David Sylvian has little time for his last group, glam rockers made good JAPAN, so why has he chosen to team up with his old cohorts again as ambient moodies Rain Tree Crow? Simon Dudfield puts it down to the peculiar flight path of `true art’. Seconding that emulsion:
