After the filmshoot (2002)

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Dave Edwards solo cassette tracks, in Wellington NZ, 2002.

Wellington, New Zealand
 

Hey so the new (2020) album Ruasagavulu is out!

(go there, like, share etc)…

 

& in the meantime, until the next new project, here’s one from the vault:

 
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In 2002, a year whose digits are an anagram of this one’s,  I was living in Wellington (New Zealand’s capital, and my birthplace), looking for a way to follow up the almost-success of The Marion Flow (part 2).

But I was moving further away from conventional 3min song formats into the avant-garde.

This is the second largely solo album I made in 2002.

First came Mantis Shaped & Worrying– the difficult third album, an intensely introverted spoken word + instrumental voyage into inner space, by Dave Edwards (with Simon O’Rorke) (2002)

“Four tracks over 45 minutes allow the artist suitable space for his forum of spoken word and instrumental colour, with the latter lurching from acoustic strums to occasional cacophony. On the final track, ‘Revenge of the Smur‘ Edwards uses a primarily percussive accompaniment whose impact is as dramatic as his wordplay”Real Groove

Meatwaters Festival, Wellington NZ, 2002

 

Although the internet existed in early form, this was before social media, so instead of selfies oversharing took a more oblique form, filtered through art. I was an underemployed arts graduate, living in a scody flat doing casual work as a film extra (blink and you’ll miss me in Lord of the Rings) or builder’s labourer, and (trying &) failing to write a novel. Partly due to lack of money, I made my own entertainment.

Although I lived not far from Courtenay Place I was more interested in the scene based around Newtown venue The Space (a precursor to the Pyramid Club), then in its baroque period.

I was a noisy (as opposed to noise) guitar & spoken word footnote to the Wellington free jazz / avant garde music scene.

 

The tracks here were originally part of Loose Autumn Moans:

Sam Prebble & Mike Kingston, 2003

Acoustic songs with a string section, recorded on all-analogue equipment, by Dave Edwards, with Sam Prebble, Mike Kingston, and Simon Sweetman (2003)

“Here Wellington, NZ composer Dave Edwards mostly goes it solo with some able assistance from duo or trio the Winter. .. Guitars, violin, cello, and percussion all stack up… He’s got a persona that’s all his own.”– George Parsons, Dream Magazine #5

But now I’ve removed the 2002 solo interludes, and re-presented them as a standalone short album, with a different running order and some light remastering:

 

 

 

 

 

 

 

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I wrote the words to the title track in a notebook during the wrap party for a short film I’d helped out on – a surrealist description of the evening, based on deliberate mishearing of the conversations. I made the soundscape with electric guitar and a 4-track tape recorder.

The other tracks expanded on this noisy fusion style of postpunk, free improv and spoken-word.  Radio stations wouldn’t touch it with a bargepole.

Further listening

The Marion Flow (part 2, Wellington)

Electric and acoustic songs, spoken word and instrumentals – an almost-recognised New Zealand classic, by Dave Edwards with Chris O’Connor, Paul Winstanley, Simon O’Rorke, Chris Palmer, Joe Callwood, and Dean Brown (2001)
It’s lo-fi, organic and about as eclectic as one could manage. Kind of reminds me of Nick Cave if he had grown up in Timaru. No pretentious American accents or catch phrase choruses, just a bunch of people making music. A little beauty!” – NZ Musician, August/September 2002

in the non-idiomatic idiom in Norway (part 1)

Free (in both senses) jazz from Wellington, by Dave Edwards and Simon O’Rorke with Paul Winstanley, Jeff Henderson, Blair Latham, Daniel Beban, Bridget Kelly (1999)

Gleefully Unknown: 1997-2005

vol1 – songs, spoken word and improvisations from the early phase of my gloriously unsuccessful career, by Dave Black with The Winter, Ascension Band,plus Chris O’Connor, Paul Winstanley, Simon O’Rorke, Chris Palmer, Sam Prebble, Francesca Mountfort and more
Rough outsider folk-blues mysteries, dissonant rock textures, electric and acoustic improvisations… Edwards strikes me as one of the most overlooked musicians from the fertile lands of New Zealand and if you need a fresh start this might very well be the place.” The Broken Face

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