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David Sylvian - Everything And Nothing (2000)

11-05-2015, 08:48
Rock | Electronic

David Sylvian - Everything And Nothing (2000)

Artist: David Sylvian
Title Of Album: Everything And Nothing
Year Of Release: 2000
Label: Virgin
Genre: Electronic, Art Rock
Quality: Mp3
Bitrate: 320 kbps
Total Time: 02:19:40
Total Size: 359 Mb


CD 1:
01. The Scent Of Magnolia (5:37)
02. Heartbeat (Tainai Kaiki II) (5:17)
03. Blackwater (4:23)
04. Albuquerque (Dobro #6) (1:22)
05. Ride (8:00)
06. The Golden Way (6:01)
07. Ghosts (3:48)
08. Pop Song (4:35)
09. Every Colour You Are (4:47)
10. Wanderlust (6:47)
11. God's Monkey (5:02)
12. Let The Happiness In (5:36)
13. I Surrender (9:29)
14. Thoroughly Lost To Logic (1:17)

CD 2:
01. Jean The Birdman (4:12)
02. Cover Me With Flowers (6:33)
03. The Boy With The Gun (5:15)
04. Riverman (4:57)
05. Aparna And Nimisha (Dobro #5) (0:57)
06. Midnight Sun (4:03)
07. Orpheus (4:49)
08. Some Kind Of Fool (7:31)
09. Cries And Whispers (2:34)
10. Godman (3:58)
11. Laughter And Forgetting (2:34)
12. Buoy (5:15)
13. Weathered Wall (5:44)
14. Bamboo Houses (5:21)
15. Come Morning (3:57)

Mark Isham / Organ, Synthesizer, Guitar, Trumpet
John Cage / Synthesizer, Piano, Programming, Sampling, Computer Engineering
Jon Hassell / Dictaphone
Ingrid Chavez / Synthesizer, Guitar (Acoustic), Guitar, Keyboards
Mick Karn / Bass, Guitar, Percussion, Drums, Sax (Alto), Sax (Bass), Sax (Tenor), Vocals
Bill Nelson / Synthesizer, Guitar
Marc Ribot / Guitar, Fender Rhodes, Loop
David Torn / Guitar (Electric)
Kenny Wheeler / Piano, Flugelhorn
Keith Tippett / Percussion, Piano
Rain Tree Crow / Synthesizer, Guitar
Trey Gunn / Percussion, Chapman Stick
Marc Anderson / Percussion, Drums
Tommy Barbarella / Bass
-Richard Barbieri / Synthesizer, Bass, Percussion, Drums, Marimba, Saxophone
Mel Collins / Guitar (Electric), Sax (Soprano), Frippertronics
Danny Cummings / Percussion
Holger Czukay / Synthesizer, Piano, Dictaphone
Rob Dean / Guitar, Piano
Lawrence Feldman / Flute, Guitar
Bill Frisell / Dobro, Voices
Robert Fripp Guitar, Percussion, Stick, Chapman Stick, Frippertronics
Brian Gascoigne / Organ, Synthesizer, Guitar (Acoustic), Vocals
John Giblin / Drums, Drum Programming
Simon House / Vocals
Steve Jansen / Percussion, Drums, Marimba, Drum Programming
Jerry Marotta / Drums
Steve Nye Synthesizer, Piano
Phil Palmer / Synthesizer, Guitar (Acoustic), Piano, Slide Guitar, Guitar (Electronic)
Ryuichi Sakamoto / Organ, Synthesizer, Bass, Percussion, Piano, Drums, Organ (Hammond), Double Bass, Fender Rhodes
David Sylvian / Organ, Synthesizer, Dobro, Guitar, Keyboards, Piano (Electric), Vocals, Fender Rhodes
John Taylor / Piano
D. Thompson / Bass
Steve Tibbetts / Guitar (Acoustic), Guitar (Electric)
Damiano Puliti / Cello
Danny Thompson / Percussion, Drums, Double Bass
Nicola Alesini, Andreoni Pierluigi & Sylvian / Keyboards, Sax (Soprano), Drum Programming
Scooter Warner / Drums
Arturo Stalteri / Percussion, Keyboards
Sebastian Arocha Morton Drum Programming
P.L. Andreoni Keyboards
Mark Sanders Percussion
Pier Luigi Andreoni / Percussion, Keyboards, Sax (Soprano), Drum Programming

Singer/songwriter David Sylvian's career spans a long and enigmatic scene of experimental rock and emotional restylings. Not one to fully absorb the conventional ways of a certain circuit, Sylvian is a realist musician. He is ambitious in molding his own catharses within layers of woodwinds, horns, and homegrown synth beats, and 1999's Dead Bees on a Cake was only a small cue to Sylvian's forthcoming work. The new millennium brought the release of the double-disc Everything and Nothing, a reflection of Sylvian's previously unreleased older material. Sonically gorgeous with vocals comparable to Bryan Ferry, Everything and Nothing is a vastly expressive record of 29 tracks lost in the vaults of remixes, time, and creative changes; it is certainly a moving package of lush elevations and underrated wordplay. The two-disc set hums with eclectic instrumental constructions and tinges of Middle Eastern material, especially on tracks such as "Ride." "Pop Song" is more attractive with its abstract guitar riffs and whimsical synth loops, and "Some Kind of Fool," a long-lost Japan song intended to be on 1980's Gentleman Take Polaroids, is electronically driven. It's naturally abrasive in lyrical poetry, and Sylvian's atmospheric nature to float over the initial song composition is classic. "Jean the Birdman" echoes the sultriness of Peter Murphy, but Sylvian is shiftless at the same time with his funkadelic mood. The textural differences among the cuts make Everything and Nothing particularly inviting, reflecting the wholehearted desire that continues to make David Sylvian a fresh contributor. He is surprising, professional, and unattached to what's common. Everything and Nothing is undoubtedly a firm recognition of Sylvian's musical wizardry.

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