1856 to 2026 – DIY outsider music, from Aotearoa NZ and beyond
4th May 2019 at Wairarapa TV May Music Marathon
I wrote this in 1999, after moving to Wellington. I was at an open mic night, at an upstairs bar in Cuba Mall that no longer exists, waiting for my turn to play. I had to wait a while – hence a lot of lyrics.
It was my attempt at a beat poet vibe, reflecting my move to the capital city and discovery of a local jazz scene. Continue reading “Cafes in Conversation”
This is what ‘partying like it’s 1999’ actually sounded like at the time:
“If only I could play guitar like that – bastard!” – Chris Knox
| 1. | Cafes in Conversation 03:44 |
| 2. | Banana Wizard 02:59 |
| 3. | I Don’t Need You (to Grind Me Down) 02:15 |
| 4. | Given in Clouds (a wedding) 04:05 |
| 5. | Chairs to Tie the Revolution Down 03:31 |
| 6. | Midwinter Night 03:35 |
| 7. | Locked Without March 04:02 |
| 8. | You Can’t Complain 04:48 |
| 9. | Open the Dogs 04:43 |
| 10. | Summer in Fairyland 03:28 |
| 11. | Tony Was Here (but they put him on ice) 03:19 |
| 12. | The Marion Flow 09:47 |
On this occasion I was privileged to be the opening act for Chris Knox. So this album is (obviously) dedicated to him.
Chris influenced generations of artists in NZ and abroad; his place in the pantheon is secure.
I was 20 years old, and had moved back to Wellington (my birthplace, though not my hometown). I had with me a cheap imitation Stratocaster; some notebook scribblings; a harmonica in my pocket; and an album and a half recorded.
Continue reading “Live 1999”Live 4th May 2019, at Wairarapa TV May Music Marathon, in Masterton NZ.
Solo guitar & harmonica version of track http://www.fiffdimension.bandcamp.com/track/summer-skin
Originally recorded in Wellington NZ, September 2003, for the album ‘Loose Autumn Moans‘, with a mini string section of Mike Kingston on cello and Sam Prebble (RIP) on violin. It also appears on the Gleefully Unknown: 1997-2005 compilation.
4th May 2019 live solo version at the Wairarapa TV May Music Marathon.
This song was originally recorded in June 2001, at Thistle Hall, Wellington. It was the opening track of the album The Marion Flow.
Since last year I’ve been getting back into playing solo acoustic. Here’s a 6 March 2019 version of ‘the Marion Flow‘:
It appears on the Live 2019 album:
Originally recorded in New Plymouth in 1999, it became the title track of my second album:
The 1999 recording had quite a different vibe – spoken word delivery, electric guitars panned left & right, and Paul Winstanley playing a cymbal through a pitch shifter, turning it into a deep sea gong sound.
On other occasions it became a rock riff, based around just an E note and its octave.
I was surrounded by wider & weirder music too. I moved to Wellington and found a kiwi avant-garde scene with free jazz, noise, and theatre gallore. We eventually finished The Marion Flow album in 2001, after recording sessions at Thistle Hall.
Both the live electric and acoustic versions appear on the
Two sides of a coin!
The lyrics are some of my favourite. They were scribbled in a notebook sometime in the late 90s. I was digesting the influence of literary modernism (eg lines like ‘yea take in that wake’ a shout out to James Joyce, using nouns as verbs and vice versa, and other general flouting of grammatical rules).
Taranaki and its coastlines inspired much of the atmosphere.
Continue reading “The Marion Flow, March 2019”19th century Scottish drinking song, by John Collie (1834-1893), from his book ‘Poems and Lyrics‘
Played by his great-great-grandson Dave Edwards – first public performance of this piece, at Dragon Inn, Featherston, NZ, 6 Feb 2019 .
A couple of months later I played it at Wairarapa TV May Music Marathon on 4th of May 2019
which features on the Live 2019 album.
HERE’S A HEALTH TO MY CRONIES.
HERE’S a health to my cronies where’er they reside, Whether this side or that o’ yon big rowin’ tide ; I care na what country or kingdom they claim, Be they English or Irish to me it’s the same, Gif their hearts to a glass o’ gude whisky incline, I instantly class them as “Cronies o’ mine.”
Awa wi’ yon nabob purse-proud o’ his gear, Neither he nor his wealth hae charms for us here; Awa wi’ yon fop wi’ his clear headed cane, A bit trip through the warld, it’s use may explain; But welcome my cronies wherever ye be, To join in this gude reekin’ bumper wi’ me.
A fig for the wealth that this warld can gie, We naething brought here, sae we’ve naething to lea; The farmer wi’ ousen an’ acres galore, Has his crosses just now, an’ may sune count on more; Then come here, my cronies, let’s kick awa care, As lang’s we’ve a groat or a shilling to spare.
The year got off to a good start, with Ascension Band: Evolution
The successful collaboration with Nigel Patterson, Ryan Prebble, and over a dozen other musicians, from jazz-schooled to untrained punks, won the best music award in the NZ Fringe Festival.
I had my first taste of success (the fame part of Fame & Oblivion 2005-2012)…
…But by this time I was ready to see the world beyond Aotearoa. I shifted across the Tasman Sea to Melbourne – in Australia, the West Island.
For the next few months I lived in Brunswick, and worked in temp jobs around the city and in rural Victoria.
The results became After Maths & Sciences
Thursday 21 June, 8pm @ Fringe Bar
26-32 Allen Street, Wellington, NZ
fiffdimension is an umbrella name for music and multimedia projects by Dave Edwards, solo or with various collaborators. Shows may include acoustic songs, spoken word, distorted postpunk, free improvisation, lo fi electronica, Eurasian folk music, 19th century ballads, video installations, or all or none of the above.
www.facebook.com/fiffdimension
www.fiffdimension.com
MuscleMan are an alt. country band that write dark, sweet, melancholy songs about love, loss, and questionable life decisions. Their performances range from intimate, acoustic sessions, to loud, raucous, throw the drum kit into the crowd encounters. Most of all though, they play with feeling.
https://www.facebook.com/musclemannz/
Fredd Marshall is a sonic shaman. Using his voice he takes you on a journey to the unknown. Improvising loops, drones and overtones he will bring you to contemplate the universe and rethink what it means to be human. He has been to the realms of infinity and brought back treasures to share.
http://www.soundcloud.com/theshaman/
As a solo acoustic bassist, Vince Cabrera draws inspiration from sources such as the Argentine folk music of his childhood, American primitive guitarists such as John Fahey, and composer Erik Satie for a rich ambient, acoustic experience.
The post-punk big band Ascension Band convened in 2003-2005… here’s the 2004 lineup performing at the Meatwaters Festival at Happy in Wellington.
| Nigel Patterson – hammond organ & conductor Dave Edwards – guitar & electronics Mike Kingston – guitar Jesse Toews – bass Warwick Donald – bass Antony Milton – violin & electronics Damian Stewart – laptop Jason Secto – cornet Simon O’Rorke – percussion Myles Climo – drums |
The following year we won best music award in the 2005 Wellington Fringe Festival
“With elements of punk, post-punk, jazz, classical, straight rock, opera and music hall, the Ascension Band are that rare thing: Something Wholly Other. They retain avant garde cred and still manage to rock harder than AC/DC.” – www.varsity.co.nz
| Dave Edwards – electric guitar & electronics Nigel Patterson – hammond organ & conductor Will Rattray – electric guitar Bell Murphy – bass Warwick Donald – bass Murray Stewart – keyboards Damian ‘Frey’ Stewart – laptop Ryan Prebble – tone generator Sam Jenks – trumpet Felicity Perry – vocal Atushi Iseki – vocal Matt Baxter – drums Greta Welson – drums |
This riff
Continue reading “Ascension Band 2005”
fiffdimension 