j o e

Fripp returned to work with Sylvian for their first collaboration since the ex-Japan leader's melancholic 1986 solo album Gone to Earth. By contrast, The First Day is more aggressive, opening with a number of overt, eccentric rock songs like "God's Monkey," "Firepower," and "Brightness Falls." The backing band for this was composed of soon-to-be King Crimson stick player Trey Gunn, and almost-was King Crimson drummer Jerry Marotta. Fripp's guitar spans the meter, from the 'burning guitar' he contributed on Davie Bowie's Scary Monsters to the serene soundscapes he would continue to record throughout the remainder of the 90s. Sylvian's throaty vocals are still that unique combination of sensual and dry, and fans of his solo albums will not be disappointed. The one criticism I have is the dragging out of certain songs. It think it is accessible for "Firepower," but less so for "20th Century Dreaming," and it couldn't possibly get any more excruciating in the case of "Darshan," which I would say is the only failed track on the album. Closing it all is a warm bed of e-flat known as "Bringing Down the Light"; for my money has got to be the best loops Fripp laid down in the 90s. I'd say this disc is good, but not stellar. Nevertheless, it goes without saying it is a must for King Crimson completists, as well as for those who wish to bridge over towards David Sylvian's solo work. review by Joe McGlinchey — undated —

e r i c

Being aware of, but not familiar with Sylvian's music, this was a good place to start. Sylvian has a distinct, deep husky voice that's rather unique. With Trey Gunn joining in on stick, a Crimson feel permeates through some of the tracks. "God's Monkey" is a bit funky and is followed by a catchy "Jean The Birdman". The weirdness begins in "Firepower" which has a laid back funky groove (as does much of the CD), and is filled with guitar and keyboard sound effects. For me it goes on a bit too long, a tempo change would really have helped this. After getting through the fourth song "Brightness Falls", I want to give these guys a kick in the ass. They need to mix it up, there is a sameness to the first half of this. The harshness of "20th Century Dreaming" finally brings some relief. Soundscapes abound with Gunn and Marrotta holding down the bottom, while Sylvian sings/talks over this section. "Darshan (The Road To Graceland)" opens with some techno sounding percussion and again drags out the same repetitive beat and music, only this time it runs a torturous 17 minutes long. The final cut "Bringing Down The Light" reveals more soundscapes, and without the annoying backbeat it is absorbed much easier. I find that I have only listened to this a few times and bought it when it first came out, so that may tell you something. review by Eric Porter — undated —

b r a n d o n

Don't expect King Crimson-style aggressiveness, and don't expect David Sylvian's relaxed, thoughtful vocal pop. If you expect, however, a combination of the two, you might just be on the right track. The music is very distinctive: the instrumentals exhibit heavy aggressiveness at times, laid-back groove at others. Sylvian's vocals are all laid-back and take a bit of time to get used to if you're not familiar with his singing style. Three short pop-prog type songs balance out three extended jams that are much more difficult to get into. "God's Monkey" and "Jean the Birdman" both have pretty accessible melodies and a nice funky feel to them; "Brightness Falls" feels like slowed-down metal. "Firepower" and "Darshan" both have extended instrumental sections which I feel are a little too long and get kind of dull (though the shortened, more intense 10-minute live performance of "Darshan" on Damage is one of my absolute favorites by this group). "20th Century Dreaming" fares a little better. The final track is one of the most utterly relaxing soundscapes I've heard come from Fripp's guitar - peaceful and rejuvenating. This is all pretty eclectic stuff, and I cautiously recommend it to Fripp and Sylvian fans, or anyone looking for some pop-prog that's a little off the wall. review by Brandon Wu — undated —