An item that is used but still in very good condition. No damage to the jewellery case or item cover, no scuffs, scratches, cracks, or holes. The cover art and liner notes are included. The VHS or DVD box is included. The video game instructions and box are included. The teeth of disk holder are undamaged. Minimal wear on the exterior of item. No skipping on CD/DVD. No fuzzy/snowy frames on VHS tape. See the seller’s listing for full details and description of any imperfections.
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ITEM: VINYL LP 33 1/3 RPM
ARTIST: TITLE: Brilliant Trees COUNTRY PRINTED: OZ CAT No: VIRGIN, V-2290 COVER: (Grade at NEAR MINT-) INNER COVER: (Grade at EXCELLENT+) LABELS: (Grade at MINT-) VINYL: (Grade at NEAR MINT+) TRACKS: 1 -Pulling Punches -Sylvian 5:02 2 -The Ink in the Well -Sylvian 4:29 3 -Nostalgia -Sylvian 5:42 4 -Red Guitar -Sylvian 5:11 5 -Weathered Wall -Hassell, Sylvian 5:44 6 -Backwaters -Sylvian 4:53 7 -Brilliant Trees -Hassell, Sylvian 8:42 COMMENT: Biography by Jason Ankeny Following the 1982 dissolution of Japan, the group's onetime frontman David Sylvian staked out a far-ranging and esoteric career that encompassed not only solo projects but also a series of fascinating collaborative efforts and forays into filmmaking, photography, and modern art. Born David Batt in Kent, England, on February 23, 1958, Sylvian formed Japan in 1974 and served as primary singer/songwriter throughout the group's eight-year existence. Just prior to Japan's breakup, Sylvian began working with composer Ryuichi Sakamoto, with whom he released the single "Bamboo Houses" in 1982, marking the beginning of a longstanding musical relationship.
After 1983's "Forbidden Colours," another joint effort with Sakamoto composed for the film Merry Christmas, Mr. Lawrence, Sylvian released his 1984 solo debut, Brilliant Trees. The first step in his music's evolution from Japan's post-glam synth pop into richly textured, poetic ambience, the album featured contributions from Sakamoto as well as Jon Hassell and Can alumnus Holger Czukay. That year, Sylvian also published his first book of photographs, Perspectives: Polaroids 82/84; in 1985, he released Preparations for the Journey, a documentary filmed in and around Tokyo, as well as the EP Words With the Shaman.
Gone to Earth, an ambitious double LP recorded with assistance from Robert Fripp and Bill Nelson, followed in 1986, while 1987 marked the release not only of the beautiful Secrets of the Beehive album but also the book collection Trophies: The Lyrics of David Sylvian. At the same time, he began composing the score for modern dancer Gaby Abis' Kin, which premiered at London's Almeida Theater that September; another collaboration with Abis, Don't Trash My Altar, Don't Alter My Trash, bowed in November 1988. Also in 1988, Sylvian reunited with Holger Czukay for the instrumental LP Plight and Premonition; the duo re-teamed in 1989 for Flux + Mutability. Ember Glance: The Permanence of Memory, an installation of sculpture, sound, and light created by Sylvian and Russell Mills, was staged in Tokyo Bay, Shinagawa, in 1990; a year later, he and the other members of Japan, who had briefly reunited under the name Rain Tree Crow, issued a self-titled album.
In 1994, Sylvian emerged in tandem with Robert Fripp for both an album, The First Day, and Redemption, another sound-and-image installation exhibited in Japan. The superb Dead Bees on a Cake followed in 1999; Approaching Silence, a collection of instrumental material, appeared later that fall. In fall 2000 Sylvian returned with the double-disc Everything and Nothing, which made for an excellent introduction to some of Sylvian's projects that had finally taken shape after the composition completion, financial settlements, and time constraints throughout his solo career. He reappeared in 2003 with Blemish, an unsettling disc of new material featuring appearances by avant guitar legend Derek Bailey and electronica experimentalist Christian Fennesz. It took six long years for Sylvian to record a follow-up to Blemish, but he did so with Manafon in 2009. Fennesz appeared on the set, as did vanguard musicians Evan Parker, John Tilbury, Otomo Yoshihide, Polwechsel, and Keith Rowe.
VINYL GRADING SYSTEM
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear. NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear. EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing. VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine. GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour. FAIR: RECORD: Still just playable & exhibits considerable surface noise. COVER: Major tears, wearing, splits & stains. POOR: RECORD: Will not play properly due to scratches etc. COVER: Very badly damaged. +(PLUS)/-(MINUS): Slightly up or down in condition as appears in the comments above. NOTE: Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.
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