drums

Huia Vortex

Posted on Updated on

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.

Dave Black & Emit Snake-Beings

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)

Posted on Updated on

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.

]

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

Read the rest of this entry »

The Marion Flow (part 1, Taranaki 1999)

Posted on Updated on

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.

This slideshow requires JavaScript.

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 »

Seafriends

Posted on Updated on

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.

Read the rest of this entry »

2005

Posted on Updated on

2005

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)

Melbourne, VIC, Australia 2005

…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.

 

This slideshow requires JavaScript.

The results became After Maths & Sciences

Read the rest of this entry »

Other Islands: 2012-2018

Posted on Updated on

fiffdimension vol3

(see also Gleefully Unknown: 1997-2005 and Fame & Oblivion: 2005-2012)

brings us into the current decade – with further wide-ranging experimentation and exploration sonically, temporally and geographically, in New Zealand, Western AustraliaIndonesia, Okinawa (Japan), and Fiji.

by Dave Black (acoustic & electric guitars, banjo, harmonica, laptop, bass, tenor saxophone, field recordings, piano, ukulele, sanshin, saron, jublag, demung, vocal), with

Mike Kingston (charango, acoustic guitar),

Simon Sweetman (percussion),

Nat da Hatt (electric guitar, keyboards, banjo),

Emit Snake-Beings (banjo, vocal, percussion, flute, electronics),

the Digitator (electric drums, keyboards & loops),

Campbell Kneale (electric guitar, analogue synthesiser),

Cylvi M (vocal, field recordings, percussion, shakuhachi),

Blair Latham (bass clarinet),

Simon O’Rorke (keyboards),

Chris Prosser (violin),

Julie Bevan (acoustic guitar),

plus Indonesian gamelan ensembles led by Sofari Hidayat, Budi Putra, and Gareth Farr,

a song by my great-great-grandfather John Collie (1856),

and field recordings from Western AustraliaIndonesia, Okinawa (Japan), and Fiji.

This slideshow requires JavaScript.

Featuring tracks from the albums

The Winter: Flying Visit (2012)

in the non-idiomatic idiom in Norway (1999/2014)

ネオン列車の風景 Neon Train Landscapes (2010-15)

Ngumbang (2014-15)

The Winter: Exit Points (2015)

The Electricka Zoo (2017)

and previously unheard tracks.

And hear the previous compilations

Gleefully Unknown: 1997-2005 

and Fame & Oblivion: 2005-2012

Fame & Oblivion: 2005-2013