The difficult third album – recorded during a time of intense introspection in 2002. I locked myself in my room in Wellington for all of November with an analogue 4-track cassette recorder.The results rapidly put an end to my promising New Zealand music career!
In 2002, a year whose digits are an anagram of this one’s, I locked myself in my room for a month of self-isolation.
It had nothing to do with a pandemic!
“Whilst shopping from fiffdimension make sure to get hold of ‘Gleefully Unknown’, a best-of compilation of Dave Edwards’ music from 1997 to 2005. 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.” – Mats Gustafsson, The Broken Face
A compilation of songs, spoken word and instrumentals from the first half of my gloriously unsuccessful career to date:
by Dave Edwards (acoustic & electric guitars, harmonica, bass, banjo, vocal)
Mike Kingston (cello, acoustic guitar),
Paul Winstanley (fretless bass, turntables),
Simon Sweetman (percussion),
Nigel Patterson (hammond organ),
Cylvi M (percussion),
Simon O’Rorke (percussion),
Francesca Mountfort (cello),
Jeff Henderson (clarinet),
Blair Latham (alto sax),
Sam Prebble (violin, percussion),
Chris Palmer (electric guitar),
Chris O’Connor (drums),
Antony Milton (violin, keyboards),
Dean Brown (drums)
Featuring tracks from the albums
Scratched Surface (1997-1998)
in the non-idiomatic idiom in Norway (1999/2014)
The Marion Flow (1999-2001)
Mantis Shaped and Worrying (2002)
The Winter: Parataxes (2003)
Loose Autumn Moans (2003)
Live 2004 (2004)
After Maths & Sciences (2005-2006)
I spent days alone in my room with a borrowed 4-track cassette recorder (thank you Jeff Henderson) and bass guitar (thank you Simon O’Rorke). I’d never had a bass lesson so came up with my own improvised atonal punk/funk style.
The thin walls and neighbours below meant I couldn’t use an amp but could only play in headphones. This added to the sense of implosion. Likewise vocals couldn’t be done in a loud voice. I mostly eschewed effects pedals, and went more for dissonance than distortion. The technology was all analogue.
The result was Mantis Shaped and Worrying. It received mixed reviews, but was unlike anything else (as far as I was aware) at the time. File under: sui generis.
Track one was a major composition in three movements entitled And in a who gets to who and who does and him: