338:"It was very cathartic. It's an odd one to talk about, because obviously I was going through a break up of a marriage and that was very painful, but as I got into the studio and shut the door I would allow myself into the darkest recesses of my heart and my mind to uncover what was there. And I would feel that to be quite dangerous in life – it's not something I would encourage – but in the creative process it seems incredibly liberating to be able to access these more negative darker emotions and acknowledge them. So I worked on the album daily for I think it was six weeks, and each day I was more or less writing a track, and I'd flesh it out over time, and at the end of each day I'd listen back to what I'd done and feel elated by what I heard, which was an odd way to relate to the content of the material because of its nature in essence. But I felt like, Gosh, this doesn't sound like anything I've ever done before, or anything I'd heard before, so it felt very exciting.
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had not already reached a resolution in his music before, and this time, situated in the middle of his breakup, "there was no resolution, there was no way of projecting that onto the material- an artificial sense that everything will be all right in the end, everything resolves, everything is okay. There was none of that with the material. It was in the heat of that complexity of emotions, of trying to face them head on and not look away." Sylvian conceived the lyrics to explore "everything I couldn't face head on in real life" and delved deeper into emotions "that weren't profound to begin with," such as hate, to see how far he could go. Sylvian explained: "The level of hate I was experiencing wasn't that intense, but I wanted the challenge of finding out what that felt like. It was like automatic writing."
333:"I didn’t know how to handle the emotional side of things. Once I got into the studio and closed the studio door, I felt a certain sense of safety, of liberty, to deal with the emotions, emotions that were primarily negative and all to do with my relationship with my wife. I wanted to delve far deeper into them than I would in daily life. How far can you go with that sort of feeling and where does it lead you? At the same time, I’m delving into something that one should be wary of delving into, because you don’t know how readily you will be able to re-surface from it at the end of the day. There was a sort of trepidation involved."
398:, but was unable to find someone that fit his aesthetic; instead, during the recording of the album, Fennesz contacted Sylvian regarding work he wanted his involvement in, "and so, in a roundabout way," Sylvian found an ideal collaborator for the record. This was unlike Sylvian's earlier previous solo projects, where he would seek out the musicians he decided beforehand would be ideal. Meanwhile, he approached Bailey for the album at a joint concert he was playing with Milo Fine; although Bailey agreed, he was unsure why Sylvian pursued him.
524:". According to biographer Martin Power, the music is often little more than "an echoing guitar chord or spare keyboard flourish," while reviewer Nick Southall says the melodies "are pulled apart so slowly and deliberately that you can see the joints and mechanisms of pop music, the purposeful analogue crackle becomes a dovetail for a small song made long, the dry, dawdling dramatics of his voice, at once ancient and modern, become a cog-wheel for a pop-opera soliloquy."
511:; just the box singing to itself. No picked notes; just percussive impact now and then. Another guitar, further distant in the room, erupts in arrested distortion, clipped. The amplifiers speak, or the body of the guitar; frame work rather than systemic framework. 'I fall outside of her,' David Sylvian sings. The less 'real' silence (the room before and after music happens) surrounding recorded music, the more interesting real silence becomes."
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that "it's possible to see through the anger and know that the degree of hurt you're experiencing is colouring everything. So there IS no wrong or right at the end of it. That's obviously the case. It takes two to make a relationship and there are different needs in different people. I couldn't take myself so seriously as to think that my viewpoint was the only one." The singer felt that, while the divorce was the impetus of
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guitar down on the hard drive and immediately responded to that lyrically. Within a couple of hours, you have a complete set of lyrics and a melodic line. So I'd record that on the spot, which allows me to be less cautious about what's revealed." After the rapid recording of the record, it was left in its "natural state," which
Sylvian says was opposed to "producing something over deliberated and refined".
415:, he had the desire "to eradicate the past and to find a whole new vocabulary for myself. At first, you are working from pure intuition. You are not sure where you are going; later, you begin to understand where the vocabulary is leading you and how to make it speak for you in a more profound way." In addition to the new sonic experimentation on the album, Sylvian's voice, while retaining his signature
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with a sustained tone, the pivotal "A Fire in the Forest" closes the album in a "battered sense of optimism." Featuring
Fennesz's arrangement, the song consists of "twisted fragments" with a melody barely surfacing, while Sylvian sings of his "search to reach the sunshine that awaits him above grey skies". Toop felt that "his is a song of verses that become choruses," while Craig Roseberry of
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452:: "s you get older, that gets digested and surfaces in entirely different ways. There can be microbeats in the body of a composition that express anger so much more succinctly than a power chord, or an enraged vocal. I mean, 'The Only Daughter' is a piece of murderous feeling. It could be describing a murder that's already taken place." Nonetheless, Dave Gavan of
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557:"Blemish", which sets the tone of the album, is a minimal and cerebral track which throughout its near-14 minute duration features heavily echoed noises which swell and recede at a "disquieting but sunken volume," while Sylvian, in his upfront vocals, sings lines like "I fall outside of her" and "Life's for the taking, so they say, take it away."
507:"The record begins in a room, so begins as a record. Not so many recordings begin in rooms at this moment in time; they are not records so much as accumulations of data. Distinctive fluctuations of a tube amp, vibrato set to medium speed and high intensity, introduce us into the room space and its atmosphere. No gates, filtering or intrusive
225:, marking a turning point in Sylvian's lyrics as they became more personal and open and less oblique. Wanting to find a new musical vocabulary for himself, he recorded the album in a relatively quick, six-week duration, improvising the eight songs on the album as he went. It features guest appearances from
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to be "a surprisingly recrimination-free affair as divorce albums go," highlighting the lines "The trouble is / It's impossible to know / Who's right and who's wrong" from the title track. While
Sylvian denies any pathological forgiveness to the "even-handedness" of the lyric, he nonetheless conceded
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are more honest and emotionally open and less oblique than on previous albums, despite "numerous disfigurations of clear-cut linear thought," according to critic Andy
Kellman. Sylvian, who described the record as a "portrait of a person in crisis," had not worked with a "complex set of emotions" that
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in the back of the studio between a different guitar and amp can be heard. On "The Only
Daughter", Sylvian's vocals are chopped and snipped on several lines, while the song's ambience is cut by a quiet crackle and background tones. In his Sylvian biography, Power felt the song's subject concerns "a
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So once I'd left that wonderful cocoon in which one could explore these emotions, I entered back into the real world of those emotions, and it was still an extremely difficult time, but as I think it was Robert Lowell said, ugly emotions produce beautiful poetry sometimes, and that's definitely true
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The songs on the album eschew traditional melody, as well as standard pop structures, with
Sylvian's vocals instead providing the sole line of melody and counterpoint to hold the music together. This is a departure from earlier Sylvian recordings, though his signature upfront vibrato vocals remain.
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The final song to feature Bailey, "How Little We Need to Be Happy" has conversational lyrics, while according to Toop, Bailey's guitar shapes the words by "sniffing a harmonic implication out of blunted chords that shuffle in line, old men for a few steps, then shatter in mirror shards." Beginning
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felt the track highlights
Sylvian's voice and also "emanates with the experimental style of both Fennesz and Bailey," despite neither of them appearing on the track. During the pauses between words, Toop noted "brief moments of difference tones, a low frequency bulge in the fabric," and notes the
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was produced by
Sylvian and recorded over six weeks between February and March 2003 at his Samadhi Sound Studio. There was an immediacy to creating the album that allowed the singer to not overthink the lyrics; he described the recording as very instantaneous: "You put something improvised on the
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remixed by different producers of different nationalities, a decision made by
Sylvian who wanted the international selection of remixers to reflect Samadhi Sound's "global" image. He was happy with the remix album, saying that unlike other albums of the type, which he found to only be moderately
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One of three songs featuring Bailey, "The Good Son" features lyrics which seem almost sarcastic in their approach to
Sylvian's turmoil, described by Toop as an instance of the singer working within a "physical discomfort zone". Bailey's guitar work comes in unexpected spasms which, according to
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is also the first album in which Sylvian distorted and chopped up his voice in a new, unnatural fashion. Bailey himself said of the album a year later that he felt Sylvian "works it quite well compared to what I do. He doesn't sing the same as what I play. My impression is that his voice is so
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which emerges with the lyric "We can take the car. No one will be watching." It features Sylvian's double-tracked voice, a three-note bassline and handclaps, while squeals and creaks can be heard in the song's background. According to Southall, the handclaps help squeeze the song "back into a
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magazine, using his unhappiness to "delve deeper into some of the darker corners of his consciousness. Once you are down, you may as well keep drilling and see how far you can go and use the experience to exorcise some hidden demons." Sylvian said that he had a "sense of trauma" that needed
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gave him and the label an opportunity to build up relationships with musicians such as Burnt Friedman and Akira Rabelais that could ultimately lead the path towards future collaborations. He also felt the remix album helped explore the "emotional core or aspects" of the original songs on
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addressing and "wanted out," adding: "I used the emotions to punch further into the darker recesses of my own mind, to see how far I could go, to see what I would find there and if and how I could give it voice." Sylvian explained to how the album worked as a style of therapy:
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was only initially available on the internet, via Sylvian's personal website. He made the decision believing the album would have been described within the music industry as "a difficult album" that would discourage distribution, and felt creating a website that could release
427:. Sylvian reflected on the recording sessions: "Living through these emotions was very difficult, but finding a voice for them was so cathartic, and after that six-week period, I'd felt I'd worked through some very difficult emotions. I felt an enormous amount of release."
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and fragments of Bailey's delicate guitar work, as well as Sylvian's non-linear lyrics. While Sylvian's vocals are front and centre, with them being mixed extremely loudly until they took on a "confrontational" and "physical presence" when Sylvian played them back,
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felt that "although several entries tread a thin line between self-analysis and self-indulgence, the standouts brilliantly convey the album's pervasive themes of fractured relationships, emotional turmoil, redemption, truth and spiritual enlightenment."
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is an album that people have to work at. That people are prepared to do just that, to spend some time getting to grips with it – well, that’s an act of true generosity on their part." While comparing the album to other similarly themed albums like
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but had very limited commercial success. Although the musician was compiling compilation albums of his work for Virgin, he found it a creatively stifling process, but despite wishing to "start over again" had no support from the label. He felt the
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The oscillating "The Heart Knows Better", containing a relatively simplistic message of redemption, features a shuddering, struck open guitar chord and slow vibrato. "She Is Not" features Bailey's guitar, while "Late Night Shopping" contains
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and Masatksu Takagi, using only keyboards, laptop computers and a single guitar. While recreating the album's songs with great care and "little intensity," some critics were distressed by some of the performances, including Nick Hasted of
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of songs for guitar, electronics and voice," performs alone for half of the album, accompanied by his electronic treatments and guitar, while appears on the remaining songs with either Bailey and Fennesz. The latter musician helps bring a
293:, which ended when Sylvian was released from his contract. During his later days on the label, Sylvian was seen as "a historical oddity" on their roster as opposed to "a sound business investment," seeing as he had a developed
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a "work of beautiful, desolate fragility," and "an unforeseen detour taken by David Sylvian, who has made eight of his most bare, anguished, and intense songs, all of which are neither pleasant nor the least bit settling." In
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magazine says this improvised nature gives the album "a sincere sense of urgency." Reviewer Chris Jones felt Sylvian's "singular extemporised recording processed" freed him from "any previous sense of precious perfectionism".
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as a "small masterpiece," while Chris Dahlen of the same website later said it "may be the most powerful album he's ever recorded, the rare case where an artist uses his maturity to show more pain than he had in his youth."
1040:; Sylvian explained how he felt some fans shared his cathartic experience of the album when listening to it, whereas others found it to be "my most inaccessible of recordings. Some seriously disliked it." He reflected that "
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vibrato, a drifting, wavering tone, tiny inferences of digital environments. Nothing is covered, removed, detached, enhanced. The voice is a naked man, seated in a room unfurnished except by tremulous, broken sound waves."
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worldwide on 24 June 2003. The album artwork, designed by Yuka Fujii with artwork from Atsushi Fukui, features an illustration in the inner sleeve of Sylvian pushing a shopping cart through a forest covered in snow.
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without outsider distribution would still cater for those interested enough to find it. However, after the promising initial reviews of the album generated much interest, distributors became interested in
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hailed the "unexpected" album as "an extremely moving and potentially radical record," calling the Derek Bailey collaborations "astonishing" and "brilliant," and named it Sylvian's best work since
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abound," is said to complement the "rougher hewn material" on the album and Sylvian's mournful voice. Bailey's guitar is low in the mix, and appear on particularly minimalist tracks. Writer
394:, who joined the recording sessions two weeks after it began, by which point Sylvian had already completed four songs. He wished to work with a musician who was exploring modern virtual
947:, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 76, which indicates "generally positive reviews," based on six reviews.
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direction and featuring fewer occurrences of melody. Sylvian felt the album functioned as cartharsis, and that recording the album helped him work through difficult emotions.
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said the record has a more congruent focus than Sylvian's earlier music, while being unsavoury towards the moments when the album "is allowed to wonder". Craig Rosberry of
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influence to the record, while the jagged guitar work of Bailey, who, in the words of one reviewer, plucks his guitars "as if their strings had been replaced by rusty
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and Sylvian's idea of creating a personal record label which could release the album on a wider scale grew. Eventually, his newly established
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would not be supportive of the work he wanted to create, and upon leaving Virgin, become more self-sufficient, building a home studio in his
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was a critical success, with praise given to its dark, personal tone. Sylvian toured in promotion of the album in autumn 2003, while a
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was key to its success, calling it his most "unguarded" work, "minimal in design". Nonetheless, many of his fans felt puzzled by
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distinctive all the pieces sound the same - a very special voice and special words, but my impression is they're all the same."
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successful in that remixers would often prefer to work on their own material rather than be paid to remix someone else's work,
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The musician felt that the expression of anger had changed as he got older, a change represented by the relevant parts of
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was originally released via the internet only, but when the album caught the attention of distributors, Sylvian set up
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ranked the album at number 2 in their list of the 50 best albums of 2003. Sylvian felt the lack of lyrical conceit on
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felt an important sense of space on the record – which makes ambient use of the room it was recorded in – explaining:
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in early 2003. The album was inspired by, and documents, the disintegration of Sylvian's relationship with his wife,
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were less receptive, saying Sylvian's "heart-on-a-sleeve earnest emotionalism falls short of being impressive".
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Most of the songs are based around a single chord, although according to Jones, the material avoids becoming
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described the album was "much sparser and looser than we are used to from David Sylvian". Nick Southall of
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in its use of electronics and sound and marks a stark departure in Sylvian's musical career, moving in an
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wrote how Sylvian became grander when "aced with conventional, if not threadbare, tunes," describing
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records who released the album commercially in mid-2003. Despite alienating several fans,
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documents the disintegration of Sylvian's relationship with his wife, American singer
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reflected that the album was "innovative" and "pioneered a sound". Jess Harvell of
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While clues concerning the album's troublesome background are apparent throughout
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closeness of each sound on the song, particularly "the voice, small blemishes of
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to channel his emotions "as a kind of creative catharsis," in the words of
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said the messages being obscured by "meticulously organized sounds," like
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is neither a sad or happy album but a "strange observation and relapse".
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life poisoned and subsequently freed from the expectations of service".
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and place them into new contexts in order to see "how they resonated".
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605:-like intonations," which, according to Jones, reinforce the sense of
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remixed by international producers, was released in February 2005.
1487:"David Sylvian Interview: From Japan To Manafon, The Man Revealed"
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Kellman, "carry and push, rather than support, Sylvian's voice."
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due to the close attention "being repaid by a swarm of insectoid-
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and song-based work. Sylvian, who called the album "an impromptu
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was marked by "a sense of almost catatonically muted distress".
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There's a Light That Enters Houses with No Other House in Sight
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Written about his divorce with Chavez, Sylvian's lyrics on
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follows David Sylvian's protracted legal wranglings with
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All tracks are written by David Sylvian, except as noted
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The Good Son Vs. The Only Daughter - The Blemish Remixes
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The Good Son vs. The Only Daughter (The Blemish Remixes)
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home, Samadhi Sound Studio, over the course of a year.
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is the sixth studio album by British singer-songwriter
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said the album "startles with its originality," while
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described the song as "tranquil, poetic and wistful".
1906:"David Sylvian - Blemish - Review - Stylus Magazine"
1547:"David Sylvian's Guide To The Work Of David Sylvian"
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as "the subtlest opera of tweaked, quaking noises".
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1290:David Sylvian – vocals, producer, engineer, mixing
1681:Derek Bailey and the Story of Free Improvisation
1591:: CS1 maint: others in cite AV media (notes) (
1406:(3rd ed.). United Kingdom: Omnibus Press.
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382:alone, with the exception of three tracks with
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274:, containing remixes of each of the songs from
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401:Sylvian had decided he had taken the form of
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2708:Experimental music albums by English artists
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1520:"David Sylvian's new release – Sleepwalkers"
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679:On 7 September 2005, Samadhi Sound released
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405:to their pinnacle with his previous album,
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1684:. London: Verso Books. pp. 366–367.
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1943:. Vol. 115, no. 25. p. 42
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2629:Ember Glance: The Permanence of Memory
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1788:Roseberry, Craig (20 September 2003).
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653:In late 2003, Sylvian embarked on the
370:was one of Sylvian's collaborators on
18:2003 studio album by David Sylvian
2261:Died in the Wool – Manafon Variations
2113:"David Sylvian: Manafon Album Review"
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1968:"18 Quick Questions To David Sylvian"
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2713:Electronic albums by English artists
1916:from the original on 2 November 2007
1871:"The Wire - David Sylvian "Blemish""
206:, released in May 2003 on Sylvian's
2222:When Loud Weather Buffeted Naoshima
2111:Harvell, Jess (29 September 2009).
1904:Southall, Nick (1 September 2003).
1753:Coleman, Nick (27 September 2003).
1400:Power, Martin (13 September 2004).
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411:(1999), and when beginning work on
213:Following Sylvian's acquittal from
2254:The Good Son vs. The Only Daughter
2187:Alchemy: An Index of Possibilities
1623:Dahlen, Chris (12 December 2005).
1545:Wallace, Wyndham (19 March 2012).
1314:Atsushi Fukui – artwork, cover art
1311:Yuka Fujii – art direction, design
271:The Good Son vs. The Only Daughter
14:
2718:Ambient albums by English artists
2038:The Encyclopedia of Popular Music
1243:Vinyl and Japanese CD bonus track
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390:and one with electronic musician
1755:"David Sylvian: the Q interview"
1403:David Sylvian: The Last Romantic
1201:"How Little We Need to Be Happy"
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1935:Morris, Chris (21 June 2003).
1363:"David Sylvian Blemish Review"
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1:
1647:Clarke, Jude (5 March 2012).
1451:"Q & A With Jason Cowley"
791:Encyclopedia of Popular Music
707:Critical reception and legacy
1449:Cowley, Jason (March 2005).
2573:Heartbeat (Tainai Kaiki II)
2314:A Victim of Stars 1982–2012
1822:Amneziak, Amneziak (2003).
1678:Watson, Ben (24 May 2004).
482:album, combining Sylvian's
378:Sylvian improvised much of
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2006:"Blemish by David Sylvian"
1649:"Interview: David Sylvian"
1625:"Interview: David Sylvian"
689:of each of the songs from
282:Background and inspiration
2060:"David Sylvian - Blemish"
1260:
1252:
1211:
1197:
1183:
1169:
1155:
1141:
1124:
1110:
1102:
1099:
747:
744:
724:
721:
158:
28:
2601:Plight & Premonition
2443:Gentlemen Take Polaroids
2041:(5th concise ed.).
1577:(liner). David Sylvian.
1159:"The Heart Knows Better"
1824:"David Sylvian Blemish"
1790:"Music Billboard Picks"
1302:– arranger, electronics
2507:The Very Best of Japan
2293:Everything and Nothing
2201:Secrets of the Beehive
1215:"A Fire in the Forest"
645:record label released
588:
513:
375:
344:
335:
70:Samadhi Sound Studio,
2353:Words with the Shaman
1361:Jones, Chris (2003).
1204:Derek Bailey, Sylvian
1187:"Late Night Shopping"
1176:Derek Bailey, Sylvian
696:The Blemishes Remixes
657:tour in promotion of
624:Release and promotion
610:recognisable shape".
579:
366:
347:Writing and recording
2698:David Sylvian albums
2693:Samadhi Sound albums
2429:Obscure Alternatives
2374:Let the Happiness In
1306:Toby Hrycek-Robinson
712:Professional ratings
655:A Fire in the Forest
2339:The Ink in the Well
2286:Approaching Silence
2208:Dead Bees on a Cake
1587:cite AV media notes
1244:
1145:"The Only Daughter"
1062:Tonight's the Night
1052:Blood on the Tracks
713:
674:Royal Festival Hall
408:Dead Bees on a Cake
62:February–March 2003
2485:Compilation albums
2066:. 1 September 2003
1242:
711:
589:
531:, Andy Kellman of
384:free improvisation
376:
227:free improvisation
2680:
2679:
2608:Flux + Mutability
2566:Forbidden Colours
2531:Snow Borne Sorrow
2516:
2515:
2500:Exorcising Ghosts
1493:, 12 October 2009
1300:Christian Fennesz
1281:
1280:
1238:
1237:
1220:Christian Fennesz
934:
933:
541:shopping trolleys
396:filtering systems
392:Christian Fennesz
368:Christian Fennesz
195:
194:
191:
190:
2725:
2657:Jean the Birdman
2550:Ryuichi Sakamoto
2411:
2158:
2151:
2144:
2135:
2128:
2127:
2125:
2123:
2108:
2102:
2101:
2099:
2097:
2082:
2076:
2075:
2073:
2071:
2056:
2047:
2046:
2029:
2023:
2022:
2020:
2018:
2002:
1983:
1982:
1980:
1978:
1964:
1953:
1952:
1950:
1948:
1932:
1926:
1925:
1923:
1921:
1901:
1886:
1885:
1883:
1881:
1866:
1839:
1838:
1836:
1834:
1819:
1806:
1805:
1803:
1801:
1785:
1770:
1769:
1767:
1765:
1750:
1741:
1732:
1703:
1702:
1700:
1698:
1675:
1664:
1663:
1661:
1659:
1644:
1633:
1632:
1620:
1597:
1596:
1590:
1582:
1571:
1562:
1561:
1559:
1557:
1542:
1536:
1535:
1533:
1531:
1526:. 9 January 2011
1516:
1495:
1494:
1483:
1466:
1465:
1463:
1461:
1446:
1425:
1424:
1422:
1420:
1397:
1378:
1377:
1375:
1373:
1358:
1274:
1250:
1245:
1231:
1097:
1092:
994:Andy Kellman of
930:
929:
928:
924:
923:
919:
918:
914:
913:
909:
908:
892:
891:
890:
886:
885:
881:
880:
876:
875:
871:
870:
822:
821:
820:
816:
815:
811:
810:
806:
805:
801:
800:
784:
783:
782:
778:
777:
773:
772:
768:
767:
763:
762:
717:Aggregate scores
714:
585:pictured in 1991
160:
159:
122:
121:
117:
33:
21:
2733:
2732:
2728:
2727:
2726:
2724:
2723:
2722:
2683:
2682:
2681:
2676:
2634:
2613:
2585:
2543:
2512:
2480:
2462:
2400:
2360:Taking the Veil
2346:Pulling Punches
2319:
2266:
2241:
2180:Brilliant Trees
2167:
2162:
2132:
2131:
2121:
2119:
2110:
2109:
2105:
2095:
2093:
2092:. December 2007
2084:
2083:
2079:
2069:
2067:
2058:
2057:
2050:
2031:
2030:
2026:
2016:
2014:
2004:
2003:
1986:
1976:
1974:
1966:
1965:
1956:
1946:
1944:
1934:
1933:
1929:
1919:
1917:
1910:Stylus Magazine
1903:
1902:
1889:
1879:
1877:
1868:
1867:
1842:
1832:
1830:
1821:
1820:
1809:
1799:
1797:
1787:
1786:
1773:
1763:
1761:
1759:The Independent
1752:
1751:
1744:
1733:
1706:
1696:
1694:
1692:
1677:
1676:
1667:
1657:
1655:
1646:
1645:
1636:
1622:
1621:
1600:
1583:
1573:
1572:
1565:
1555:
1553:
1544:
1543:
1539:
1529:
1527:
1518:
1517:
1498:
1485:
1484:
1469:
1459:
1457:
1448:
1447:
1428:
1418:
1416:
1414:
1399:
1398:
1381:
1371:
1369:
1360:
1359:
1326:
1321:
1287:
1282:
1272:
1239:
1229:
1086:
1075:reflected upon
988:Under the Radar
978:Stylus Magazine
956:Brilliant Trees
926:
921:
916:
911:
888:
883:
878:
873:
852:Stylus Magazine
818:
813:
808:
803:
780:
775:
770:
765:
709:
669:The Independent
626:
555:
473:
438:
433:
419:reminiscent of
349:
320:. Sylvian used
284:
186:
177:
168:
119:
115:
114:
106:
46:
19:
12:
11:
5:
2731:
2729:
2721:
2720:
2715:
2710:
2705:
2700:
2695:
2685:
2684:
2678:
2677:
2675:
2674:
2667:
2660:
2653:
2645:
2643:
2636:
2635:
2633:
2632:
2624:
2622:
2615:
2614:
2612:
2611:
2604:
2596:
2594:
2587:
2586:
2584:
2583:
2576:
2569:
2562:
2554:
2552:
2545:
2544:
2542:
2541:
2534:
2526:
2524:
2518:
2517:
2514:
2513:
2511:
2510:
2503:
2496:
2488:
2486:
2482:
2481:
2479:
2478:
2470:
2468:
2464:
2463:
2461:
2460:
2457:Rain Tree Crow
2453:
2446:
2439:
2432:
2425:
2422:Adolescent Sex
2417:
2415:
2408:
2402:
2401:
2399:
2398:
2391:
2384:
2377:
2370:
2363:
2356:
2349:
2342:
2335:
2327:
2325:
2321:
2320:
2318:
2317:
2310:
2303:
2296:
2289:
2282:
2274:
2272:
2268:
2267:
2265:
2264:
2257:
2249:
2247:
2243:
2242:
2240:
2239:
2232:
2225:
2218:
2211:
2204:
2197:
2190:
2183:
2175:
2173:
2169:
2168:
2163:
2161:
2160:
2153:
2146:
2138:
2130:
2129:
2103:
2077:
2048:
2024:
1984:
1954:
1927:
1887:
1840:
1828:Tiny Mix Tapes
1807:
1771:
1742:
1704:
1690:
1665:
1634:
1598:
1563:
1551:thequietus.com
1537:
1496:
1467:
1426:
1412:
1379:
1323:
1322:
1320:
1317:
1316:
1315:
1312:
1309:
1303:
1297:
1291:
1286:
1283:
1279:
1278:
1275:
1269:
1268:
1265:
1262:
1258:
1257:
1254:
1251:
1240:
1236:
1235:
1232:
1226:
1225:
1222:
1216:
1213:
1209:
1208:
1205:
1202:
1199:
1195:
1194:
1191:
1188:
1185:
1181:
1180:
1177:
1174:
1171:
1167:
1166:
1163:
1160:
1157:
1153:
1152:
1149:
1146:
1143:
1139:
1138:
1135:
1129:
1128:"The Good Son"
1126:
1122:
1121:
1118:
1115:
1112:
1108:
1107:
1104:
1101:
1098:
1087:
1085:
1082:
1016:Tiny Mix Tapes
932:
931:
902:
894:
893:
864:
862:Tiny Mix Tapes
858:
857:
854:
848:
847:
844:
836:
835:
832:
824:
823:
794:
786:
785:
756:
750:
749:
746:
742:
741:
737:
736:
733:
727:
726:
723:
719:
718:
708:
705:
625:
622:
560:Tiny Mix Tapes
554:
551:
472:
469:
437:
434:
432:
429:
425:double tracked
348:
345:
295:cult following
291:Virgin Records
283:
280:
215:Virgin Records
193:
192:
189:
188:
179:
170:
156:
155:
148:
147:
142:
136:
135:
130:
124:
123:
112:
108:
107:
105:
104:
99:
94:
89:
83:
81:
75:
74:
68:
64:
63:
60:
56:
55:
52:
48:
47:
42:
35:
34:
26:
25:
17:
13:
10:
9:
6:
4:
3:
2:
2730:
2719:
2716:
2714:
2711:
2709:
2706:
2704:
2701:
2699:
2696:
2694:
2691:
2690:
2688:
2673:
2672:
2668:
2666:
2665:
2661:
2658:
2654:
2652:
2651:
2650:The First Day
2647:
2646:
2644:
2642:
2637:
2631:
2630:
2626:
2625:
2623:
2621:
2620:Russell Mills
2616:
2610:
2609:
2605:
2603:
2602:
2598:
2597:
2595:
2593:
2592:Holger Czukay
2588:
2582:
2581:
2580:World Citizen
2577:
2574:
2570:
2567:
2563:
2560:
2559:Bamboo Houses
2556:
2555:
2553:
2551:
2546:
2540:
2539:
2538:Money for All
2535:
2533:
2532:
2528:
2527:
2525:
2523:
2519:
2509:
2508:
2504:
2502:
2501:
2497:
2495:
2494:
2490:
2489:
2487:
2483:
2477:
2476:
2475:Oil on Canvas
2472:
2471:
2469:
2465:
2459:
2458:
2454:
2452:
2451:
2447:
2445:
2444:
2440:
2438:
2437:
2433:
2431:
2430:
2426:
2424:
2423:
2419:
2418:
2416:
2414:Studio albums
2412:
2409:
2407:
2403:
2396:
2392:
2389:
2385:
2382:
2378:
2375:
2371:
2368:
2364:
2361:
2357:
2354:
2350:
2347:
2343:
2340:
2336:
2333:
2329:
2328:
2326:
2322:
2316:
2315:
2311:
2309:
2308:
2304:
2302:
2301:
2297:
2295:
2294:
2290:
2288:
2287:
2283:
2281:
2280:
2276:
2275:
2273:
2269:
2263:
2262:
2258:
2256:
2255:
2251:
2250:
2248:
2244:
2238:
2237:
2233:
2231:
2230:
2226:
2224:
2223:
2219:
2217:
2216:
2212:
2210:
2209:
2205:
2203:
2202:
2198:
2196:
2195:
2194:Gone to Earth
2191:
2189:
2188:
2184:
2182:
2181:
2177:
2176:
2174:
2172:Studio albums
2170:
2166:
2165:David Sylvian
2159:
2154:
2152:
2147:
2145:
2140:
2139:
2136:
2118:
2114:
2107:
2104:
2091:
2087:
2086:"2003 Rewind"
2081:
2078:
2065:
2061:
2055:
2053:
2049:
2044:
2043:Omnibus Press
2040:
2039:
2034:
2033:Larkin, Colin
2028:
2025:
2013:
2012:
2007:
2001:
1999:
1997:
1995:
1993:
1991:
1989:
1985:
1973:
1972:David Sylvian
1969:
1963:
1961:
1959:
1955:
1942:
1938:
1931:
1928:
1915:
1911:
1907:
1900:
1898:
1896:
1894:
1892:
1888:
1876:
1875:Samadhi Sound
1872:
1869:Toop, David.
1865:
1863:
1861:
1859:
1857:
1855:
1853:
1851:
1849:
1847:
1845:
1841:
1829:
1825:
1818:
1816:
1814:
1812:
1808:
1795:
1791:
1784:
1782:
1780:
1778:
1776:
1772:
1760:
1756:
1749:
1747:
1743:
1740:
1736:
1731:
1729:
1727:
1725:
1723:
1721:
1719:
1717:
1715:
1713:
1711:
1709:
1705:
1693:
1687:
1683:
1682:
1674:
1672:
1670:
1666:
1654:
1650:
1643:
1641:
1639:
1635:
1630:
1626:
1619:
1617:
1615:
1613:
1611:
1609:
1607:
1605:
1603:
1599:
1594:
1588:
1580:
1579:Samadhi Sound
1576:
1570:
1568:
1564:
1552:
1548:
1541:
1538:
1525:
1524:Flux Magazine
1521:
1515:
1513:
1511:
1509:
1507:
1505:
1503:
1501:
1497:
1492:
1488:
1482:
1480:
1478:
1476:
1474:
1472:
1468:
1456:
1455:David Sylvian
1452:
1445:
1443:
1441:
1439:
1437:
1435:
1433:
1431:
1427:
1415:
1409:
1405:
1404:
1396:
1394:
1392:
1390:
1388:
1386:
1384:
1380:
1368:
1364:
1357:
1355:
1353:
1351:
1349:
1347:
1345:
1343:
1341:
1339:
1337:
1335:
1333:
1331:
1329:
1325:
1318:
1313:
1310:
1307:
1304:
1301:
1298:
1295:
1292:
1289:
1288:
1284:
1276:
1273:Total length:
1266:
1263:
1259:
1246:
1233:
1230:Total length:
1223:
1221:
1217:
1214:
1210:
1206:
1203:
1200:
1196:
1192:
1189:
1186:
1182:
1178:
1175:
1172:
1168:
1164:
1161:
1158:
1154:
1150:
1147:
1144:
1140:
1136:
1133:
1130:
1127:
1123:
1119:
1116:
1113:
1109:
1093:
1090:
1084:Track listing
1083:
1081:
1078:
1074:
1073:
1068:
1067:Flux Magazine
1064:
1063:
1058:
1054:
1053:
1048:
1043:
1039:
1035:
1031:
1027:
1024:
1023:
1018:
1017:
1012:
1008:
1007:
1001:
997:
992:
990:
989:
984:
980:
979:
974:
973:
968:
964:
963:
958:
957:
952:
951:
946:
942:
941:music critics
938:
903:
901:
900:
896:
895:
865:
863:
860:
859:
855:
853:
850:
849:
845:
843:
842:
838:
837:
833:
831:
830:
826:
825:
795:
793:
792:
788:
787:
757:
755:
752:
751:
743:
740:Review scores
738:
734:
732:
729:
728:
720:
715:
706:
704:
702:
697:
692:
688:
684:
683:
677:
675:
671:
670:
664:
660:
656:
651:
648:
644:
643:Samadhi Sound
640:
635:
630:
623:
621:
619:
618:
611:
608:
604:
598:
595:
586:
582:
578:
574:
571:
567:
562:
561:
552:
550:
547:
542:
538:
534:
530:
525:
523:
519:
512:
510:
504:
502:
498:
494:
489:
485:
481:
477:
470:
468:
466:
461:
457:
456:
451:
446:
443:
435:
430:
428:
426:
422:
418:
414:
410:
409:
404:
399:
397:
393:
389:
385:
381:
373:
369:
365:
361:
358:
353:
346:
343:
342:of Blemish."
339:
334:
330:
327:
323:
319:
318:Ingrid Chavez
315:
311:
309:
305:
304:New Hampshire
301:
296:
292:
288:
281:
279:
277:
273:
272:
267:
263:
259:
258:Samadhi Sound
255:
251:
247:
244:The album is
242:
240:
236:
232:
228:
224:
223:Ingrid Chavez
220:
216:
211:
209:
205:
204:David Sylvian
201:
200:
185:
184:
180:
176:
175:
171:
167:
166:
162:
161:
157:
153:
152:David Sylvian
149:
146:
145:David Sylvian
143:
141:
137:
134:
131:
129:
125:
113:
109:
103:
100:
98:
95:
93:
90:
88:
85:
84:
82:
80:
76:
73:
72:New Hampshire
69:
65:
61:
57:
53:
49:
45:
44:David Sylvian
40:
36:
32:
27:
22:
16:
2671:Damage: Live
2669:
2662:
2648:
2641:Robert Fripp
2627:
2606:
2599:
2578:
2536:
2529:
2505:
2498:
2491:
2473:
2455:
2448:
2441:
2434:
2427:
2420:
2312:
2307:Sleepwalkers
2305:
2298:
2291:
2284:
2277:
2271:Compilations
2259:
2252:
2246:Remix albums
2234:
2227:
2220:
2214:
2213:
2206:
2199:
2192:
2185:
2178:
2120:. Retrieved
2116:
2106:
2094:. Retrieved
2089:
2080:
2068:. Retrieved
2063:
2037:
2027:
2017:19 September
2015:. Retrieved
2009:
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1937:"The Indies"
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1294:Derek Bailey
1173:"She Is Not"
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92:experimental
39:Studio album
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2703:2003 albums
2522:Nine Horses
2467:Live albums
2395:I Surrender
2367:Silver Moon
2122:5 September
2096:5 September
2070:5 September
1977:5 September
1947:5 September
1920:5 September
1880:5 September
1833:5 September
1800:4 September
1764:5 September
1697:5 September
1658:4 September
1530:4 September
1491:The Quietus
1460:5 September
1419:5 September
1372:3 September
1055:(1975) and
687:remix album
607:agoraphobia
539:, rattling
518:drone music
497:barbed wire
455:The Quietus
431:Composition
421:Bryan Ferry
266:remix album
102:avant-garde
2687:Categories
2493:Assemblage
2436:Quiet Life
2332:Red Guitar
2279:Weatherbox
2011:Metacritic
1691:1844670031
1413:1844495876
1319:References
1308:– engineer
1057:Neil Young
981:described
945:Metacritic
731:Metacritic
501:David Toop
458:considers
386:guitarist
235:electronic
229:guitarist
154:chronology
97:electronic
2117:Pitchfork
1941:Billboard
1794:Billboard
1653:Music OMH
1285:Personnel
1218:Sylvian,
1134:, Sylvian
1114:"Blemish"
1103:Writer(s)
1072:Pitchfork
1047:Bob Dylan
1022:Billboard
617:Billboard
537:handclaps
403:pop songs
268:entitled
237:musician
2450:Tin Drum
2388:Pop Song
2090:The Wire
2035:(2011).
1914:Archived
1739:AllMusic
1296:– guitar
1264:"Trauma"
1065:(1975),
1030:The Wire
1006:The Wire
996:AllMusic
959:(1984).
754:Allmusic
594:Feedback
533:AllMusic
522:glitches
300:industry
140:Producer
59:Recorded
54:May 2003
51:Released
41: by
2664:Darshan
2381:Orpheus
2324:Singles
2300:Camphor
2229:Manafon
2215:Blemish
1735:Blemish
1581:. 2003.
1575:Blemish
1556:16 July
1077:Blemish
1042:Blemish
1038:Blemish
1034:Blemish
1000:Blemish
998:called
983:Blemish
967:Blemish
937:Blemish
701:Blemish
691:Blemish
659:Blemish
647:Blemish
639:Blemish
634:Blemish
629:Blemish
546:Blemish
529:Blemish
484:ambient
476:Blemish
465:Blemish
460:Blemish
450:Blemish
442:Blemish
417:vibrato
413:Blemish
380:Blemish
372:Blemish
352:Blemish
322:Blemish
314:Blemish
308:Blemish
287:Blemish
276:Blemish
262:Blemish
254:Blemish
250:ambient
239:Fennesz
219:Blemish
210:label.
199:Blemish
187:(2005)
178:(2003)
174:Blemish
169:(2002)
165:Camphor
87:Ambient
24:Blemish
1688:
1410:
1256:Length
1190:
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1148:
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1106:Length
962:Magnet
829:Magnet
748:Rating
745:Source
735:76/100
725:Rating
722:Source
603:mantra
493:glitch
436:Lyrics
233:, and
111:Length
67:Studio
2639:with
2618:with
2590:with
2548:with
2406:Japan
2064:Uncut
1277:49:23
1253:Title
1234:43:41
1120:13:42
1100:Title
950:Uncut
899:Uncut
566:noise
553:Songs
488:suite
471:Music
128:Label
79:Genre
2124:2017
2098:2017
2072:2017
2019:2016
1979:2017
1949:2017
1922:2017
1882:2017
1835:2017
1802:2017
1766:2017
1699:2017
1686:ISBN
1660:2017
1593:link
1558:2021
1532:2017
1462:2017
1421:2017
1408:ISBN
1374:2017
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1224:4:14
1207:3:22
1193:2:54
1179:0:45
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1151:5:28
1137:5:25
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846:7/10
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834:7/10
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357:Flux
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