Yeah, they can be interpreted in different ways, but yes they can be interpreted that way too. I don't like to be too specific about it. They are obvious references, I think. And thunder and lightning can certainly be interpreted in that way.

There is a song on the new album where you refer to lightning in the spine, does that refer to kundalini?

Uh huh. Yeah.

In "Krishna Blue" you sing the lines "you open the gates/the madness begins," meaning that the hard part begins after you are inspired by a revelatory experience?

Yeah because you have to start facing yourself in so many different ways. And some of that can be very unpleasant and very painful. The process isn't easy. There is a lot to be looked at that. Stuff that has been shunted under the carpet and pushed away. You have to face it, you have to go through this process of letting everything rise to the surface and take a good look at it and try to relieve yourself of those qualities, so you can move on. But there has to be an embracing of them before you can let go of them. So it is extremely difficult at times.

The title "Pollen Path" you mentioned was a reference to a Joseph Campbell lecture about American Indian spirituality. To me that seems to refer to the beauty of nature, the aliveness of everything around you.

Yeah. Absolutely, and again with the teachers I have been with, they are able to experience that as being palpably real. Just seeing the divinity in all things. So the beauty exists, it is, its not subjective. It is something we have to grow into understanding, to become more and more conscious of, to be able to understand the beauty of the world. We are too selective in what we perceive to be beautiful and not so beautiful. And just being around these people that don't think that way, that don't see the world that way is quite liberating, quite intense.

And so is the edginess of that song the frightened child inside that doesn't want to deal with this kind of awareness?

Yeah, its the chaotic nature of life on earth in so many of its aspects. Both the personal and the worldly, I mean, the world is a pretty chaotic and frightening place. And its acknowledging that, and at the same time crying out, yearning for this recognition, being recognized by the divine, if you like. That you could be graced by the presence of divinity.

So in the second half of the tune, where you are more quiet, is that a shrinking away from that reality?

No I think it is coming to the same conclusions with a more quieter state of mind, in periods of reflection. It is not the most optimistic piece on the album, it's a piece embraces a lot of doubt and questioning. But it's basically asking the same question, you know.

So these songs are little mystery plays even, because in "Pollen Path" when you ask for the Mother's name you are answered by silence.

Uh huh, yeah. Again there is many ways to interpret that and I'd like to leave that open.

I was wondering who the guitarist on that track is?

I'm playing all the electric guitar and Marc Ribot is playing the acoustic slide guitar.

So you are playing the edgy, noisey guitar?

Yeah.

And in the next track "All My Mother's Names"?

That's Marc Ribot.

It reminds me of Arto Lindsay's strangulated sound.

Right, yeah. We had a wonderful session one afternoon together in New York. He gave me a lot of material to work with, it was a really fantastic session.

When you sample other people's voices, like Joseph Beuys and JG Bennett, do they function as authorities, a wise voice?

In terms of sampling the Bennett piece, yeah for sure. Because of the context it was used in it was like this moment of clarity in an otherwise chaotic universe, you know. So it was to indicate that to some degree, the possibility of divine insight, if you like. Bueys was used just because of what was being said, but it is also the reference to Bueys the man and his theories and philosophy all tied up in the use of his voice, which is something I felt a strong connection with. I find Bueys to be one of the most fascinating and influential artists of the 20th Century.

And now on "Praise" you have Shree Maa. What is she singing?

The song she is singing in "Praise" is a song to the Divine Mother. Each verse deals with a different aspect of the Divine Mother. But it is basically a song of praise to each aspect. It is something that is normally sung after a period of worship. So the first line would be "in the morning I bow down to..." and then it would say the name of the particular aspect, and go on to list those aspects.

Was it a problem to provide music to Shree Maa's song, which might have had Indian scales?

No actually, it came to be very easy. She sang the piece unaccompanied and she has wonderful pitching. So no, it was actually quite easy to come up with a chord sequence for it.

As a writer do you find it challenging that the mystical concepts you are trying to describe are best done with images that are beyond words?

We tend to respond to certain images in very similar ways. I think when we stand in a particular kind of relation, a particular kind of landscape, then we share a similar response to it in some ways. There is a certain power in nature that draws upon us or acts within us. But there are moments in time when we can experience a multitude of emotions almost simultaneous. Even contradictory emotions. A feeling of isolation, a feeling of unity, a sadness, a joy. And because of that reaction that bonds us together, if you like, I try to use imagery that has a similar quality to it. That might have, possibly, a universal response. It's difficult because we are dealing with subject matter that is beyond language, but I have the added luxury of working with music which can speak so much more. And lend so much more to a sentence, you know, just through the power of the accompaniment.

It seems difficult. In "Wanderlust" you say "I'm taking no sides now that I recognize you" which means there are no sides because the life force is a totality.

Yes. It's true, but as I say I may write it from one perspective but I think they are open to interpretation. And people may take them in different ways. And I like to leave that open as much as I possibly can so people can find themselves within the work - relate it to their own lives and what it might mean to them.

Are you planning a tour?

We've put it off until I complete the work I want to do prior to touring. So it will either begin at the end of '99 or Feb 2000.

picked a band yet?

No yet, no.

Did Sakamoto do a new version of "Forbidden Colours"?

That's done. I'm not sure when that will surface, fairly shortly I'd imagine. Maybe May.

And you sang a new version?

Yeah.

Update: "A re-recorded version of Forbidden Colours, with David on vocals, will be included on the Ryuichi Sakamoto album "Cinemage" to be released worldwide (except Japan) by Sony Classical on January 3, 2000. This release includes new orchestral versions of The Last Emperor, El Mar Mediterrani (from the opening ceremonies of the 1992 Summer Olympics), and Forbidden Colours, with David Sylvian."

Will be releasing the recordings from the Slow Fire tour?

Yes I did record it, no plans to release it as yet.

Weatherbox reissue?

They were going to re-release that prior to this album. I think they've lost some of the artwork and they are struggling to find it, is what has happened. I think it would be a wonderful thing if they could put that back out there.

remastering those albums?

That would be a good idea. What is happening is that Virgin have been asking me for a compilation album for some time. And I've put it off because I wanted to get this album out before I started work on a compilation. So that is what I'll be working on next. It's re-singing, remixing pieces from the past and pulling together all the different collaborative work that I've been involved with, as well as the solo work.

So things you did for other labels will be on this compilation?

Yeah.

Are you taking part on Robin Guthrie's album?

This is actually Russell Mills' album. Robin is involved with it, maybe as producer, I'm not sure. There is a possibility that I'll be involved with it, yeah. I'm working on the material now.

Any other things planned?

There is going to be some remixes of "God Man," the second single, but I'm not sure who's undertaking that just yet. And there will be a few other collaborations down the line but I shouldn't really talk about them as they are just in the process of being discussed.