Well, both aren’t features, really — last week was a review of David Sylvian’s latest, Manafon. To quote a bit:
In some ways, David Sylvian is trapped in elegant amber, thanks to his stellar work fronting Japan, the U.K. act that evolved into a perfect art-dance bridge from mid-’70s David Bowie to Duran Duran. But the numerous impulses that have driven his muse for years, including his near-countless partnerships with performers ranging from Robert Fripp and Ryuichi Sakamoto to younger guns such as neo-electrogaze icon Fennesz—not to mention an often-intense private life Sylvian has guarded as carefully as his public image—has meant music that long resisted easy categorization. For any short, pop-oriented ballad of his, one could name a cryptic, lengthy composition in turn.
Meanwhile, in today’s issue is my brief interview feature with Tom of the UK band the Horrors, and to quote a bit of that:
“There was a lot of tension in the air, and everyone had sweaty palms.”
Nearly everyone who has been in music has felt like this at least once, somewhere along the line. But bassist/synth player Tom Furse, a founding member of English rock band the Horrors, isn’t talking about a high-profile gig in his home country or even a worrisome intergroup meeting. Instead, thanks to the band’s second album, Primary Colours, the Horrors were up for the Mercury Prize in the U.K., something close to a Pulitzer Prize in music in terms of national attention.