What ideas or thoughts were you exploring on "Flux And Mutability"?
"Emotionally, the subtitles give a hint of how I personally responded to what was happening on the record. The music originally had lyrics that Holger and I were going to narrate. For Holger, the piece represents his fascination with the unknown, tuning into radio stations from far-off places when he was young, hearing things he didn't understand. All of this fired his imagination, and I picked up on this wonder for the real and imaginary worlds of childhood very quickly.
"The way Holger works is quite different to the way I work. He's not looking for good, technical strong performances. He prefers the moments before you get to that stage, when you're dabbling, unsure, getting lost and finding your way. He records that! Holger brings out a kind of honesty, a genuineness that, as professional musicians, we mask a great deal.
"In that respect, Holger and I have a lot in common. Our records are made intuitively, not intellectually. "Flux" isn't daunting and inaccessible. People should decide what they want from it without fearing it's too abstract. If they get something 'superficial' from it, fine. You don't have to respond in a certain way. It's definitely not precious, either. I hate that."
Evading questions about his "difficult" two years off, Sylvian is even self-effacing about the music that he makes, his work on "Flux And Mutability", his (lack of) instrumental prowess. Eager to shake off the "precious" and "pretentious" tags that have dogged his career, Sylvian is more frequently wry and self-deprecating than anyone would guess. So, if we are to learn anything about the private sorrow of David Sylvian, the implied changes in his life and attendant upheavals, we shall have to read carefully between the lines, study the records, realise that, behind Sylvian's easy humour and casual affability lies a world as complex and intriguing as our own.