recorded in 2016, this has nothing to do with Brexit or Trump!Read the rest of this entry »
It was originally created for the Psi-solation+1 – 2021 compilation album curated by fellow Featherston resident Campbell Kneale. He’s known for his noise music, paintings of cats, and as proprietor of the Miracle Room.Read the rest of this entry »
I contributed a new Dave Black piece, Outono 21.Read the rest of this entry »
John Collie (1834-1893) – lyrics
FAREWELL to thee , charming deceiver , No more will I crouch at thy gate ; I once was an earnest believer , And my folly I see when too late .Read the rest of this entry »
The words are in (beginner) Portuguese:
Eu gosto de falar
no meus ancestrais
de as ilhas Atlânticas
Madeiras e Açores
It’s dedicated to my great-great-grandfather Manuel Bernard.
Portugal is the westernmost country in Europe, with its back to it geographically and culturally. It was the edge of the known world for Europeans until the Age of Discovery. The Azores islands are even further west.
As a teenager Manuel Bernard stowed away on a passing American whaling ship.Read the rest of this entry »
releases October 17, 2020
(one continuous take, unabridged, no overdubs – the first time we’d played together)
A 3min excerpt appeared on Other Islands: 2012-2018 –
but you need to hear the full length version to truly enter Campbell’s world.Read the rest of this entry »
Around this time (September 2020) I’d planned to travel to Scotland, on my first visit. There was to be a family gathering for my sister’s wedding in Edinburgh.
The trip’s now postponed indefinitely, for obvious reasons
The idea was to visit Boyndie, Banffshire, where my great-great-grandfather John Collie grew up.
In 1856, in his early 20s he published a book : Poems and Lyrics (in the English and Scotch Dialects).
I‘ve started setting some of it to music.
These tracks were primitively recorded, not just obscure but completely unheard by anyone else, and seemed like raw unfinished demos at the time – but in hindsight may be the culmination of my 1997-2005 early period (a fusion of original songs, spoken word and free improv).
By 2004 my style was wordy, dense with allusions, and deliberately flouted not only verse/chorus structures but grammatical convention in parts; the influences here were literary modernists as much as music – eg Joyce, Beckett, Burroughs, Pynchon, Dylan (Thomas), and New Zealand poets James K Baxter, Alan Brunton and Hone Tuwhare. I was a postgrad journalism student that year, so partly it was spare time relief from the constraints of non-fiction writing.
My guitar heroes included British free improviser Derek Bailey and my Mississippi bluesman namesake David ‘Honeyboy’ Edwards – and fellow explorers in the New Zealand underground music scene.
The album is rounded out by an abrasive noise guitar, dictaphone and electric razor performance at the Bomb the Space Festival (the youtube clip is one of my few music videos to have over a thousand views… go figure),
Next, needing a change of scenery, having pushed the singer/songwriter envelope as far as I could, and following some last ensemble collaborations with Ascension Band,
and The Winter