Loose Autumn Moans (2003)

“Wellington, NZ composer Dave Edwards 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

Listen

About

All acoustic, no overdubs, and complete with a string section! Recorded and mixed on analogue equipment, and originally released on cassette in 2003 – new 2020 remaster.

“Edwards‘ art is always an interactive experience, and the spontaneous nature of his audio output encourages descriptions such as abrasive, discordant, sombre and atmospheric. Such adjectives contribute but never tell the whole tale.” – Real Groove

The album is structured as a progression from summer. The cover image shows a NZ pohutukawa tree in flower. It continues through autumn, a time of harvest, preparation, shortening daylight, and the shedding of old dead layers.

It finishes with an extended live version of ‘O Henry Ending‘, recorded at the Winter’s first gig.

“O Henry falling leaves & branches, talk a worried sad refrain

Your eyes half tilt, your brain half mast

To tie the fond anonymous bond beyond yr aching shelter lying walls

That fall to fall, & raise the days, museum haze …”

Credits

Dave Edwards (archtop acoustic guitar, harmonica, vocal, lyrics)

Sam Prebble (violin) / Mike Kingston (cello)

Simon Sweetman (percussion)

Recorded in Wellington, NZ, 2003

Wellington, New Zealand

Tracklist

1.	Summer Skin 06:19
2.	Mouth of the Caveman 03:26
3.	The Hurricane Wrangle (Live at BATS Theatre) 07:22
4.	Redressing Depression Regression 06:02
5.	The Winter – O Henry Ending (Live at Photospace) 12:46

Dedication: Bond Street Bridge

Loose Autumn Moans is dedicated to Sam Prebble (aka Bond Street Bridge), who died in 2014.

Rest easy Sam, and thank you..

Further listening

The Winter: Shortest Days 2003-2015

Continuing the seasonal theme, Dave Edwards, Mike Kingston, and Simon Sweetman (occasionally joined by Sam Prebble) formed a regular free improvising instrumental trio , the Winter.

The Winter live at Photospace Gallery, July 2003 (photo by James Gilberd)

“A strange sonic brew that includes dissonant rock textures, rough outsider folk-blues mysteries, electric and acoustic improvisations and a considerable part of tasty feedback. Imagine equal parts Derek Bailey, New Zealand’s Pumice and classic ’60s blues/folk and you’re in the right ballpark.” – The Broken Face

After the Filmshoot (2002)

The original C60 cassette release of Loose Autumn Moans included solo interludes recorded the previous year, in 2002. These have since been reissued as a separate album.

By shortening to just the 2003 ensemble sessions, Loose Autumn Moans becomes concise. It emphasises the lyrics, and the jazzy acoustic instrumental interplay.

After Maths & Sciences (2005)

A different take of ‘O Henry Ending‘ was recorded in Melbourne, Australia in 2005. I had just bought a banjo (which I still have), Mike Kingston played acoustic guitar this time, and Francesca Mountfort took the cello role, along with Cylvi M on percussion.

While much of the album was in a new style, incorporating electronica and field recordings, ‘O Henry Ending’ and the presence of fellow expat kiwis provided a thematic bridge from the Wellington days.

Acoustic yin / Electric yang – 2CD 1998-2023

To illustrate how a song can be interpreted in multiple ways, the fiffdimension 25th anniversary 2CD features Mouth of the Caveman – and both the 2005 Melbourne version and a new (2022) a live electric arrangement of O Henry Ending

Live 2019 and Live 2022-24

Three of the Loose Autumn Moans tracks were revived in new solo arrangements for these more recent live albums:

Gleefully Unknown: 1997-2005 compilation

Tracks from Loose Autumn Moans also appear on this compilation, that gives an overview of the early years.

Poems & Lyrics by John Collie (1856).

My great-great-grandfather (himself a young man at the time) self-published a book of poems in 19th century Scotland. It includes a piece about Autumn.

Adapting John Collie’s words to music is a current major work-in-progress, that .allows a new ‘mature’ version of my acoustic style, and shows the early works, like Loose Autumn Moans, in a new light!

After the filmshoot (2002)

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

Listen

About

Meatwaters Festival, Wellington NZ, 2002

These solo recordings were originally released as interludes, between the acoustic ensemble pieces in the Loose Autumn Moans (2003) album. But they’re now re-presented separately as a standalone short album (with a different running order and some light remastering).

I wrote the words to the title track in a notebook during the wrap party for a short film I’d worked on – a surrealist description of the evening, based on deliberate mishearings of the conversations around me:

“Taking notes throughout the performance. Humans become worms, with a sameness that is frightening. Politics is bad: we knew this already, but now it’s confirmed. Collapse into laughter.

A cigarette chair from which comes a dictator; everyone in thrall to his conversation. A plastic wooden horse to capture the city – incongruous? Indeed. Expelled all the virtues? You to decide.”

I made the soundscape with electric guitar and a 4-track tape recorder.

The other tracks on the album expanded on this wordy fusion of postpunk singer/songwriter and free improvisation. Radio stations wouldn’t touch it with a bargepole.

‘Working Like a Fountain in the Slender Morning Chill’, live 2010 version

Background

In the early 2000s, 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.

Dave Edwards (far left) as an extra in Lord of the Rings

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 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 the internet existed in early form, this was before social media – so instead of selfies, oversharing took a more oblique form, filtered through art.

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

Tracklist

1.	After the Filmshoot (take 1) 03:25
2.	Interlude: the sociopolitical context 00:51
3.	Sleep/Grease 02:57
4.	Etude, for electric saxophone 03:16
5.	Working Like a Fountain in the Slender Morning Chill 05:11
6.	Interlude: les paul tapdance 01:36
7.	After the Filmshoot (take 2) 04:51
8.	WLAF reprise 03:32

Further listening

The tracks on After the Filmshoot were originally part of

Loose Autumn Moans:

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

Continue reading →

Psi-solation

‘Solitude‘ appears on this compilation of 2020 lockdown sounds from around the world, curated by Campbell Kneale …

“Something about this global pandemic is inspiring people to create and/or curate art on a massive scale…. and this compilation, being offered for free/name-yr-price, is indeed M A S S I V E.” – Howard Stelzer

Psi-solation has 119 tracks, you can pay what you want, and it’s the 2020 album of the year by default!

Campbell and Dave also recorded a noise duo in 2018:

Dearest fellow music-hounds and shut-aways, CELEBRATE PSI PHENOMENON proudly presents…

‘PSI-SOLATION: A GLOBAL COMPILATION OF MUSIC MADE IN LOCKDOWN’
Continue reading “Psi-solation” →

Solitude

The first piece from the book Poems & Lyrics by John Collie (1856).

Recorded by John Collie’s great-great-grandson, during pandemic lockdown, March 2020.

‘SOLITUDE’

by John Collie, 1856

OH give me near some swelling stream to stray, 0r tread the windings of some pathless wood, For I am wearied of the bustling day, And long to meet thee, gloomy Solitude: That I with thee may climb those shelfy steeps, Which frown majestic o’er the boiling deeps. Continue reading “Solitude” →

Sonnet on Summer

A duo with my nephew, Hans Landon-Lane, from Poems & Lyrics by John Collie (1856)

Rosemary Bromley, Dave Edwards, Hans Landon-Lane

Clever Hansel – ukulele vocal
Dave Edwards – guitar, harmonica, vocal

This was the last in-person collaboration before the COVID-19 shutdown, recorded in Lower Hutt, New Zealand, March 2020.

THE sweet breath of summer blows fresh o’er each plain,

The woods have resumed their lost grandeur again;

The groves with the notes of the blackbird are ringing,

By fountain and streamlet the wild ﬂowers are springing.

And the breath of the heather bell sweetens the breeze,

And the old stormy ocean lies slumbering in peace;

And the wild bees are humming around the wild ﬂowers,

Afar above earth the lark proudly soars;

The bleat of the lamb on the moss-cover’d hill,

The sound of the shepherd’s pipe jocund and shrill,

All tell in a language most striking and plain,

T hat summer, fair summer, is reigning again,

The old face of nature her smiles has put on,

And the blustery appearance of winter has ﬂown.

Fiji 1976, by Alastair Edwards

Film footage by my father, Alastair Edwards (1936-2010), in Nadi and around Viti Levu in 1976.

It’s from my parents’ honeymoon, a couple of years before I was born.

There was no sound, so I’ve added a soundtrack from Ruasagavulu, which Dr Emit Snake-Beings and I recorded in Suva decades later.

My Dad’s interest in film (then video) and photography was one of the key influences on my own travel and videomaking. He was doing this long before youtube or instagram!

I miss you Dad…

16 February @ Fernside Gardens Open Days

I played solo acoustic at the Fernside Gardens Open Day on Sunday 16th February, 11am.

Continue reading “16 February @ Fernside Gardens Open Days” →

Huia Vortex

Animated visuals, with electric guitar loops, one-stringed bass, and drums – the opening track from the ‘Ngumbang‘ album (get the free download) – w/ Emit Snake-beings & Nat da Hatt

The title ‘Huia Vortex’ refers to the location where the track was recorded, in Huia, a small village on the outskirts of west Auckland.

It’s not necessarily related to ‘Swansong (for the Huia)‘ (2004), the second album by The Winter, an electro-acoustic trio improvisation in tribute to the extinct New Zealand bird the huia by Dave Edwards, Mike Kingston, and Simon Sweetman. Its 19-minute final track remains an underrated fiffdimension epic. [send us your review]

The Marion Flow (part 2, Wellington 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

Listen

Credits

Written by Dave Edwards, and produced by Paul Winstanley,

Featuring Chris O’Connor (drums), Chris Palmer (electric guitars), Simon O’Rorke (percussion), Dean Brown (drums).

Recorded at Thistle Hall, Wellington, 2001, and mixed by Joe Callwood.

Chris O’Connor
Chris Palmer
Paul Winstanley
Simon O’Rorke
Dave Edwards

About

The Marion Flow was originally a longer album which spanned recordings from New Plymouth in 1999 and Wellington in 2001.

In 1999, aged 20, I’d left New Plymouth, a large rural town, where I grew up, and moved to Wellington, New Zealand’s capital city, where I’d been born and where my early pakeha settler ancestors had lived in the 19th century. The Marion Flow reflects this journey, geographically, sonically and spiritually.

“The lights on the city, the barrenness glowed

& behind me the sea as it ebbed & flowed,

Leave the loner alone to go face what he knows

Chained to the flow…” – Seafriends

For the earlier 1999 New Plymouth sessions see The Marion Flow (part 1, Taranaki);

By the time the opportunity arose to finish recording the Marion Flow I’d been thoroughly immersed in the Wellington free jazz and avant-garde music scene, and was very fortunate to have help from some of the top players there. I’d never studied music at school or been in a conventional band, and was out of my depth technically… so working around my limitations became a spark to creativity.

I’ve now reissued the two halves of the album separately – to emphasise the sense of time and place, and stylistic evolution, and to re-present them more concisely for the short-attention-span 21st century.

“Edwards’ music is often a sculpture rather than a melodic composition. Within this chosen form, amongst all the writings rantings & poetry there’s much difficult pleasure to be had for the musically adventurous.” – Brent Cardy, Real Groove, July 2002

Tracklist

	1.	Seafriends 03:07 Dave Edwards – acoustic guitar, vocal Paul Winstanley – fretless bass Chris Palmer – electric guitars Chris O’Connor – drums
	2.	A Wedding 03:48 Dave Edwards – electric guitar, piano innards, canvas sheet, vocal
	3.	A Visit to the Beehive 00:45 Dave Edwards – acoustic guitar, vocal Simon O’Rorke – drums
	4.	Monkeys with Typewriters 03:30 Dave Edwards – electric guitar Chris Palmer – electric guitar Simon O’Rorke – percussion
	5.	Tony Was Here (but they put him on ice) 03:07 Dave Edwards – electric guitar, vocal Chris O’Connor – drums
	6.	Cafes in Conversation 03:38 Dave Edwards – electric guitar, vocal Paul Winstanley – fretless bass Chris O’Connor – drums
	7.	The Marion Flow (live at the Space) 09:07 Dave Edwards – electric guitar, harmonica, vocal Dean Brown – drums
	8.	Seafriends (instrumental mix) 04:05 Dave Edwards – acoustic guitar Paul Winstanley – fretless bass Chris Palmer – electric guitars Chris O’Connor – drums

Further listening

Continue reading →

1999

At the close of the 90s, aged 20, I left New Plymouth, the large rural town in Taranaki province, where I grew up.

I moved to Wellington, New Zealand’s capital city, where I’d been born and where my 19th century pakeha settler ancestors had lived.

My second album, The Marion Flow reflected this journey. It showed a musical and lyrical evolution beyond my debut Scratched Surface.

(part 1, Taranaki).

The Marion Flow

Electric and acoustic songs, spoken word and instrumentals – an almost-recognised New Zealand classic (1999–2001)

“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

Paul Winstanley, recording The Marion Flow (1999)

Paul Winstanley played bass on and engineered the recording sessions, which were hosted by Brian Wafer.

The “hit single” Banana Wizard was released on a compilation of Taranaki music and had some student radio airplay around the country… about the extent of my commercial success to date.

I was also opening my ears and mind to more experimental sounds, and moving beyond conventional pop song structures.

At the same sessions we recorded free improvisations, which Paul later overdubbed and rearranged into

dAdApApA: Waiting for the Drummer

Taranaki improvised rock/noise deconstruction with sputtering synth, air-sucking turntables, didgeridoo and sundry toys providing layers of surreal abstraction (1999)

“after recording tracks for The Marion Flow at Wafer HQ in New Plymouth, an ad hoc group of associated locals assembled to record… the only rock references here come from the guitars… throw in some spoken word and a special guest appearance by N.P. record mogul Brian Wafer on vacuum cleaner and the dAdApApA nova had blazed and fizzled in the blink of an eye” – Eden Gully

& then I got to the capital city, and was suddenly a small fish in a bigger pond…

Part 2, Wellington

Dave Edwards, at Bar Bodega, Wellington NZ, 1999

Here’s what I sounded like around the time I arrived in Wellington – this solo postpunk set at Bar Bodega, opening for Chris Knox, was preserved (in lo-fi, a 90s aesthetic):

Live 1999

[send us your review]

But apart from songs I also fell under the influence of the burgeoning avant garde and free improv scene in Wellington.

This was centred around a venue called the Space (later Fred’s and then the Pyramid Club)… the dissonant flipside of the more popular smooth Pasifika/jazz sound the city became known for (Fat Freddy’s Drop et al).

Although way out of my depth technically, I met up with improvising percussionist Simon O’Rorke, and jazz-trained players including Blair Latham and Jeff Henderson to make