David Sylvian

The 2003 digipak reissue of Gone to Earth by David Sylvian features two CDs with remastered tracks, instrumental additions, and remixes of three songs: "Riverman," "Gone to Earth," and "Camp Fire: Coyote Country."

The packaging has an eight-panel digipak design in metallic sepia and gold tones. It also includes a poster booklet with gloss art paper and previously unseen photographs.

The cover artwork for the album was created by Russell Mills, a renowned artist known for his mixed-media approach and collaborations with musicians. His work often incorporates textures, abstract imagery, and layered designs, which perfectly complement the ethereal and experimental nature of David Sylvian's music. Mills has also worked with other iconic artists, including Brian Eno.

The Making of Gone to Earth

After the release of Brilliant Trees, David Sylvian moved further away from conventional song structure when working on Gone to Earth. The recording took place across several locations, rather than being confined to a single studio environment. This fragmented process is reflected in the final album, which shifts between structured vocal pieces and more open, atmospheric compositions.

The original 1986 release was conceived as a double album with a clear division. The first part focused on vocal-led tracks such as “Taking the Veil” and “Before the Bullfight,” while the second part was devoted entirely to instrumental material. These instrumental pieces were built using layered textures, treated guitars, and studio manipulation rather than traditional band arrangements.

Sylvian worked with a rotating group of collaborators rather than a fixed lineup. Contributions were often recorded in separate sessions and then assembled during the production stage. This method allowed for a more detailed and controlled sound, but also meant the album developed gradually rather than being captured as a single performance.

The visual side of the project was handled by Russell Mills, whose artwork was developed alongside the music rather than added at the end. His use of layered materials and textured surfaces mirrors the construction of the recordings themselves, giving the album a consistent identity across both sound and presentation.

Later CD editions, including the 1993 European release, present a reduced version of the original double album. By focusing mainly on the vocal material and selected tracks, these editions alter the balance of the work, making them distinct from the full 1986 concept.