Aotearoa

The Marion Flow (part 2, Wellington 2001)

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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

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

This page is for the 2001 Wellington recordings: produced by Paul Winstanley, & featuring Chris O’Connor (drums), Chris Palmer (electric guitars), Simon O’Rorke (percussion), and more. Recorded at Thistle Hall, Wellington, 2001, and mixed by Joe Callwood.

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.

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

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.

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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.

Further listening

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The Marion Flow (part 1, Taranaki 1999)

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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

Produced by Paul Winstanley, & featuring Steve Duffels, the Digitator, the Dadapapa Magickclone Orchestra and more. Recorded at the TFC Lounge, New Plymouth, 1999 – with special thanks to Brian Wafer.

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The Marion Flow is a pre-millennial fusion of warm acoustic pop, spoken word and postpunk discord.. An almost-acknowledged New Zealand classic from Taranaki – of its time (the ’90s!) yet timeless.

In 1999, aged 20, I left New Plymouth, a large rural town, where I grew up, and moved to Wellington, New Zealand’s capital city, where I was born. The Marion Flow reflects this journey, geographically, sonically and spiritually.

The Marion Flow was originally a longer album spanning recordings from New Plymouth in 1999 and Wellington in 2001. I’ve now reissued the two halves separately – to emphasise the sense of time and place, and stylistic evolution, and to re-present each more concisely for the short-attention-span 21st century.

This page is for the 1999 New Plymouth sessions;

Further listening

Read the rest of this entry »

Scratched Surface

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“Worth searching out coz this lo-fi singer/songwriter oddball has a unique take on the genre. He’s pissed off, a tad fucked up (as usual), but not full of lugubrious self-pity (as unusual) and is happy to get raucous & obnoxious in just the right kinda way.”Chris Knox

The debut album from fiffdimension – a genuine 1990s teenage no-budget lo-fi post-punk singer-songwriter artifact from the Taranaki, New Zealand underground, recorded on analogue reel-to-reel tape.

Online reissue includes download-only bonus tracks and previously unreleased material.

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From these folk/punk beginnings my style evolved into the more complex/impressionistic/visionary approach of The Marion Flow, Mantis Shaped and Worrying, and Loose Autumn MoansThese combined songwriting with an interest in free jazz and poetic modernism that sunk my commercial chances.  I stopped writing words entirely with The Winter and Ascension Band, and eventually lived abroad in Australia and Asia and reinvented myself again as Dave Black.

As of 2015 I’m back in NZ where my latest project is Ngumbang, which comes full circle – weaving together these various strands, in collaboration with Emit Snake-Beings who was one of my early influences!

Ngumbang

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Out now!! the new collaboration with even more legendary & underground NZ artist Snake Beings.

Ngumbang is the first collaborative album by two of New Zealand’s more unusual artist/musician/filmmaker/ethnomusicologists – performed on guitars, bass, banjo, percussion, saxophones, clarinets, harmonicas, synthesisers, Okinawan sanshin, ukulele, violin, loop pedal, piano, drums and spoken word.  The album was recorded in and near Auckland, New Zealand in 20142015 and includes live performances at Vitamin S and the Audio Foundation.

Emit Snake-Beings, who over several decades has travelled intensively in Spain, Holland, the Middle East, Mexico, America and Japan, is a New Zealand / British experimental filmmaker and musician who has produced over 40 independently released film soundtrack CDs and made a number of short experimental and narrative films in Spain, U.K. and New Zealand. www.snakebeings.co.nz

Dave Black, originally from Taranaki and active since the late 90s on the NZ underground music scene, began by fusing acoustic songs, noisy postpunk, spoken word and avant-garde improvisation – and has diversified further from there. Notable performances include the award-winning 14-piece Ascension Band, appearing as an international artist at the Liquid Architecture Festival in Brisbane, Australia, and teaching a thousand Okinawan school students to perform a haka. www.fiffdimension.com

Dave Black & Snake Beings
Dave Black & Snake Beings

‘Ngumbang’ is Read the rest of this entry »

South Island Sessions

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1861 revisited – my first pakeha (European) Edwards ancestors, Totara Jack and Mary, arrived in the South Island of New Zealand on board the Olympus and settled in Nelson.

John ‘Totara Jack’ Edwards

When I lived nearby a century and a half later,

I found the address where they’d lived, just below a spot on a hill that marks the geographical centre of NZ. To the north is Tasman Bay, and south are the foothills of the Southern Alps.

I jammed with South Island musicians; studied at the Nelson School of Music; played in Hokitika, Greymouth, Westport, Nelson, Blenheim, Lyttelton and Dunedin (as well as Brisbane, Australia); and recorded the sound of tui and makomako (native birds) in Nelson Lakes National Park.

Music by:

Dave Black – acoustic guitar, banjo, drums, harmonica, laptop, field recordings, tenor sax, and vocals

Cylvi M – vocals & phat beatz

Hayden Gifkins / Matt Thornicroft – electric guitars

Frey – no-input mixing desk

Haz / Cookie – drums