BRILLIANT TREES

David Sylvian is one of the most important, prolific, progressive, and intriguing characters of the art rock scene by a large margin, even if he never reached the cult status of someone like Bowie, for example. Whether it's his work with Japan, his extensive solo career, the side ventures of Rain Tree Crow or Nine Horses, I do believe that he has left a mark on popular music, and is responsible for some of the most hauntingly beautiful pieces one could listen to. 'Brilliant Trees' is the debut solo album of Sylvian, released in June of 1984, amidst the rise and commercialization of new wave and art rock. In a concise yet straightforward manner, the album masterminded by the former Japan front man is one of the most far-reaching and eclectic offerings of the decade, displaying an exuberant array of styles and feelings in just seven songs. In my book, there is a truly progressive approach to the songwriting here, that is strongly felt on each and every track. Not to mention the great cast of characters brought in to help Sylvian in his craft, including Richard Barbieri and Steve Jansen, former Japan bandmates, Holger Czukay of Can, and Japanese instrumentalist Ryuichi Sakamoto.

Sylvian's love for the experimental or the unconventional can be sensed in the very first track on the record, the explosive and funky 'Pulling Punches'. The bass playing is criminally tasty, the melodies are gorgeous, and the vocals are excellent all throughout. 'The Ink in the Well' follows up this one, a hypnotic piece that depicts Sylvian's longings. Beautifully introduced, the more ambient sections do much favor to this track, all instruments are used intelligently and work in harmony towards the ultimate goal of creating something beautiful and profound. 'Nostalgia, perhaps the most mellow song on the album, is a representation of the more tender side of Sylvian's music. 'Red Guitar' is one of his most well-known tracks, I personally find it to be one of the most progressively influenced and player new wave hits of the 80s.

The second side of the album features three very strong compositions. 'Weathered Wall' is a fantastic song that displays a more experimental and even jazzy approach. 'Backwaters' is perhaps the most haunting song on the album, with its audacious one-minute ambient intro. For me, some of the most hellish and hypnotic synths found on an art rock album are played here. Finally, there is the title track (which clocks in at a little less than nine minutes), the absolute climax of the album. It could sound a bit paradoxical to consider such a longing, tranquil, yet menacing song a climax, but everything comes together on this one. The entire album could not really be appreciated without immersing into 'Brilliant Trees' in the very end.

I do consider this album to be entirely excellent for all the reasons mentioned above, certainly a masterpiece in the David Sylvian universe, a strong digression from the Japan sound, and a bold representation of a musical talent who seeks to go beyond the conventional and comfortable.