David Sylvian & Robert Fripp
The First Day

I believe it's unnecessary to introduce the two artists mentioned above in this context. For the forgetful ones, it will suffice to mention two bands like the "King Crimson" and "Japan" (or even Rain Tree Crow) that dominated the scene, albeit in different musical fields, from the late '70s to the early '80s. We can also refer to some of the highly esteemed collaborators who have worked alongside them over the years: B. Eno, A. Summers, H. Budd, P. Gabriel, H. Zazou, R. Sakamoto, and so on...

It cannot be said that these two authors have adhered to fixed and unchanging schemes over time, and this work of theirs clearly demonstrates that. Perhaps in this case, the surprise comes more from Sylvian, who has never lent his voice so directly to synthesizers as he has this time, least of all to accompany with song such "technological" melodies that might be repetitive, hypnotic, and at times exacerbated by such unvaried rhythms. After all, all this more accurately represents the research field of the experimentalist par excellence His Majesty Robert Fripp, who has dedicated most of his recent works to experimental music, thus achieving his unmistakable style.

Those who remained with the previous collaboration between the two (dated 1986 which comprised half of a double vinyl "Gone to Earth" to be counted among Sylvian's production and one of the best, in my opinion) where, as you may recall, the atmospheres were very introspective, decadent, and entirely instrumental, will have to expect quite different emotions from this other work of theirs, as the spirit with which it was conceived is quite different. Personally, it seems to me that this album predominantly belongs to Fripp's musical vein, and Sylvian's contribution remains an episode within his multifaceted career, which was then oriented towards a possibly more classical, certainly more romantic taste.

If it was meant to be an experiment, I believe that the intent has been fully achieved, if only for its very "curiosity." Among the best tracks of the 7 proposed are God's Monkey with its incisive bass line and Darshan, repetitive to the point of exasperation yet compelling. Fripp supporters will appreciate it greatly, while Sylvian supporters—forgetful of the 2003 Blemish episode which has already been much commented upon—perhaps will too, but with a few more listens.