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.
This slideshow requires JavaScript.
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.
This slideshow requires JavaScript.
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.
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 Marion Flow was originally a longer album which spanned recordings from New Plymouth in 1999 and Wellington in 2001.
“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
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.
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.
“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
“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
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.
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.
fiffdimension 