Nine Horses
Money For All

As for my personal tastes, I seldom, in fact rarely, tend to consider and accept everything that is generated under the name "Remix" because I consider it a "natural distortion" of an Album that is conceived with a precise and unique creation, and as such should remain over time, but for the first time I am about to make a considerable and worthy exception. Hopeful and awaiting the birth of a new creature to discover and nurture, can the trio 9H, Sylvian, Jansen, and Friedman offer us a more perfect and graceful interlude than this? I would say no.

The debut: loftily they granted us "Snow Borne Sorrow" where the basic settings still orbited around that mystical and untouched planet called "Sylvian," a perpetual being light-years away from earthly banality, always surrounded by its ever-present satellites (for example, Sakamoto) and a collective hub that continually keeps this prestigious planet alive and incandescent.

The interlude: delightful "Money For All" where, surprisingly, Sylvian, like a bipolar magnet, attracts Friedman and Jansen into a total "cosmic fusion," filled with meticulous details, a sound exploration far superior, deeper, and more fascinating than "Snow Borne Sorrow," of high caliber and elegance, a mini-album as sunny as it is twilight, where the tracks blend between a more pronounced jazz style and a more highlighted electronic and much orchestral freedom, while Stina Nordenstam's voice, without taking anything away from Sylvian, gracefully and with savoir-faire holds its ground, traveling the same demarcation line from the debut.

Eight tracks, three unreleased, four remixes, "Birds Sing For Their Lives" bonus-track (de)-liberated previously only in Japan and the double version title track "Money For All" and "Get The Bell Out" (unreleased & remix).

"Money For All" impregnated with seduction and sensuality, a pleasant unusual harmonica - "Get The Hell Out" main and extraordinary point and it's the string refrain that contaminates an electronic combative zone - "The Banality Of Evil" much more baroque than the original - "Wonderful World" Jazz and Stina no limits - "Birds Sing For Their Lives" a track impregnated with pain and freedom, once again an extraordinary Stina - "Serotonin" a memory of Japan - "Money For All" much more ambient than the previous - "Get The Hell Out" the version I love most of the whole Album, it's like hearing a No Man track with Sylvian's voice.

In every subsequent project, David Sylvian, and this time it is essential to honorably echo his fundamental satellites, always manage to amaze and rarely, if ever, disappoint.

For this unexpected, innocent, but healthy escapade, I leave you the full freedom to express a judgment, not neglecting first and foremost, that it is always a matter of different and plausible points of view.