Blemished wrote:Have to admit to mixed feelings on this one at the moment.
I really like the woozy trumpet-led ambience. Reminds me of the Brilliant Trees era. And more broadly it has a lovely, wistful feel.
But not at all sure about the rumbling bass background (which you can't hear unless you're using good speakers). At times the main song is in time with this and at others (especially at the start) it is way out. Those first keyboard clinks sound out of time for example.
Also not keen on some of the vocal stylings - find the 'self annihilation' bit quite annoying as well as the weird trill around 'where's your mind' at the end.
It's definitely got something, but a bit of disappointment IMHO.
I should probably start by mentioning that I have yet to find anything all that appealing about any of the collaborations with Bang - in my opinion, all the tracks sound like giant steps backwards when compared to other recent material released by Sylvian. When it comes to the overall sound and samples they have chosen to utilize when providing accompaniment for Sylvian, Bang and Honore seem to be a bit too mired in the 80s era of Sylvian's career. I have yet to become comfortable with that, but obviously Sylvian is fine with it...and that is perplexing to me. So for example, the ambience of this new song sounds like some cross pollinization of elements from tracks like Maria, River Man and perhaps something like Ink In The Well.
As for the 'rumbling bass background', to my ears, that actual part seems precisely like the backbone of the track. It is essentially a walking bass line...maybe even considered more loping than walking...but the entire track is built around the jazz-tinged feel of Bang's bass. So I am a bit befuddled that you've mentioned how one will not hear it without good speakers.
Granted, some of the samples that flutter in and out do sound somewhat off-kilter, as they seem to be a bit too straight to easily interact with the foundation, which has a swing feel to it. But I would hardly believe that the placement of these samples is that far off to hamper the overall feel, which remains consistent throughout. Unfortunately, it is that rigid consistency and repetition that seems to give Sylvian so little options when it comes to his melodic content.
I had reservations about this track when Chris Dahlen described it as 'sexy'. Thankfully, it is merely one song. Hopefully, it is not a direction that Sylvian plans to follow in the future.