NINE HORSES

WONDERFUL WORLD - 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 of what could be considered as a Broadway musical show tune in the day and age of post 9/11. Nordenstam sounds like a cross between Rickie Lee Jones and Shelley Duval playing Olive Oyl in the movie Popeye. an odd choice to begin the disc.
DARKEST BIRDS - the "poppiest" track on the disc, with slight elements of electronica and a punchier kick to the catchy chorus...darkest birds coming to burst the bubbles of the brightest and furthest stars....oh well, maybe it's not quite exactly pop music fare...
THE BANALITY OF EVIL - 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 somewhat akin to the work of Peter Gabriel in the last decade or so, 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 - 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 tasty piano melodies to the piece.
A HISTORY OF HOLES - 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 listening to get the gist of this track, but this one is a gem.
SNOW BORNE SORROW - this is a track that Jansen originally intended for a possible solo work. the harsh electronic sound of Sylvian's last release, "blemish", makes a brief appearance during the introduction of this track and continues with dabs of subtle shading thoroughout the duration of the track, but the song smooths out into a gentle ballad in 6/8. The lyrics detail Sylvian's recent divorce and the effect on the children. Ryuichi Sakamoto contributes another notable cameo on piano and there is some fine string quartet orchestration.
THE DAY THE EARTH STOLE HEAVEN - a folk/jazz hybrid that reveals itself to be the highlight of this release. Sylvian's voice is in such fine form on this. guitarist Tim Motzer composed the music and Sylvian's melody is the most focused of all the selections. a perfect collaboration.
SEROTONIN - 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 - a fleshed out version of the Friedman/ Jaki 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 Morten Grønvad'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.