águas brilhantes: 2018​-​2022

fiffdimension vol 4

  • made in Featherston, Masterton, and Suva – ft Antony Milton, James Robinson, Dr Emit Snake-Beings, Campbell Kneale, and lyrics by John Collie (1834-1893) – the title is ‘Wairarapa’ in Portuguese.
  • Collaborations with my ancestors and younger relatives, friends in Fiji, a painter in Otago, the curator of PseudoArcana, and the family dog.

(See also
fiffdimension.bandcamp.com/album/gleefully-unknown-1997-2005
fiffdimension.bandcamp.com/album/fame-oblivion-2005-2012
fiffdimension.bandcamp.com/album/other-islands-2012-2018

águas brilhantes (or ‘glistening waters’ in English) is the Portuguese translation of Wairarapa, the Māori name of the region where I’ve lived the last few years.

My ancestors arrived here in the 19th century – one was a Scottish poet, another a stowaway from the Azores islands.

a followup to
fiffdimension.bandcamp.com/album/gleefully-unknown-1997-2005
fiffdimension.bandcamp.com/album/fame-oblivion-2005-2012
fiffdimension.bandcamp.com/album/other-islands-2012-2018

with videos at www.youtube.com/playlist?list=PLtbrBpNjlOHOhGouOChNl3jVUif1AZIl6 )

águas brilhantes (or ‘glistening waters’ in English) is the Portuguese translation of Wairarapa, the Māori name of the region where I live. Several of my pākeha ancestors arrived here in the 19th century.

Much of the music is inspired by two of my great-great-grandfathers – John Collie (1834-1893), a Scottish poet, who helped build the Remutaka incline railway; and Manuel Bernard (1847-1928), who left the Azores islands, as a teenaged stowaway on a whaling ship and ended up in Masterton. It’s also a torch-passing to the next generation – recorded with nephews Hans and Rhys, and niece Celeste.

Also ft literal garage rock with Antony Milton and David Heath (the Troubled Times); duos with James Robinson, Dr Emit Snake-Beings, Campbell Kneale, and Nat da Hatt; side trips to Fiji; an interspecies duet with Oscar (a huntaway); and solo instrumentals and live reinterpretations of oldies.

Includes previously unreleased recordings, download-only bonus tracks, and excerpts from the albums

fiffdimension.bandcamp.com/album/escape-velocity-live-2018
fiffdimension.bandcamp.com/album/a-ton-of-feathers-2018
fiffdimension.bandcamp.com/album/live-2019
fiffdimension.bandcamp.com/album/glimpses-of-utopia-2020
fiffdimension.bandcamp.com/album/ruasagavulu-2020
fiffdimension.bandcamp.com/album/spastic-rhythms-vol-1-2021
fiffdimension.bandcamp.com/album/return-of-the-sun-2021
layyourburdensdown.bandcamp.com/album/-
fiffdimension.bandcamp.com/album/state-highway-2-2022
fiffdimension.bandcamp.com/album/a-second-sun-2022
fiffdimension.bandcamp.com/album/poems-lyrics-in-the-english-dialect-1856
fiffdimension.bandcamp.com/album/poems-lyrics-in-the-scotch-dialect-1856
fiffdimension.bandcamp.com/album/long-live-the-miracle-room-live-2022  

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Gar mar par da nee sa

the opening track from Ruasagavulu

by Dave Black & Snake-Beings

recorded in Suva, Fiji, 2nd November 2019

Snake Beings and Dave Black in Fiji

This short warmup improv is based on an Indian scale, inspired by Dr Emit Snake-Beings‘ travels to Kerala in India, and harmonium lessons in Suva.

There’s an Indian influence throughout the album, as several sections are based on drones and modal improv (rather than the chord changes)… though this is not a traditional Indian album, we’ve borrowed ideas to inform our own experiments.

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The temple in the photo is Sri Siva Subramaniya in Nadi. It’s built in the Dravidian style from southern India, which is also found in Singapore and Malaysia.

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In contrast to other Pacific Island countries, Fiji has a large – almost half – population of Indian descent. Indians came to Fiji in the 19th century, as indentured labourers to work the sugar cane plantations.

The following videos are made in India, courtesy of www.snakebeings.co.nz

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