electric guitar

ilhas Atlânticas

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The last track on Spastic Rhythms vol 1 is a Dave Black solo rendition of a tune by the Electricka Zoo.

It originally appeared on The Electricka Zoo (2017), and on the Other Islands: 2012-2018 compilation. It’s based around a (non-diatonic) Cmaj7 – Amaj7 pattern, with a bossa nova rhythm.

The words are in (beginner) Portuguese:

Eu gosto de falar

no meus ancestrais

de as ilhas Atlânticas

Madeiras e Açores

It’s dedicated to my great-great-grandfather Manuel Bernard.

Manuel José Bernard (1847-1928)

He was born in 1847 in Ponta Delgada, Flores Island, Azores, Portugal.

Portugal is the westernmost country in Europe, with its back to it geographically and culturally. It was the edge of the known world for Europeans until the Age of Discovery. The Azores islands are even further west.

As a teenager Manuel Bernard stowed away on a passing American whaling ship.

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Spastic Rhythms vol1

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A quickfire Dave Black solo EP, recorded one summer morning, 24 January 2021

[send us your review]

It adds banjo and electric drums to the 2020s Wairarapa DIY solo electric improv style begun in

Glimpses of Utopia (2020)

Glimpses of Utopia

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Palette cleansing electric solo improv.

Recorded in Featherston, New Zealand, 2019-20.

I’m not a trained jazz musician, but nor do I fit neatly into the ‘NZ noise‘ genre.

Further listening

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Campbell Kneale & Dave Black: A Ton of Feathers

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releases October 17, 2020

Campbell Kneale – electric guitar, analogue synth

Dave Black – bass, electric toothbrush, key ring

Featherston, New Zealand,
27-Nov-18

(one continuous take, unabridged, no overdubs – the first time we’d played together)

A 3min excerpt appeared on Other Islands: 2012-2018

but you need to hear the full length version to truly enter Campbell’s world.

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Loose Autumn Moans (2003)

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“Wellington, NZ composer Dave Edwards with some able assistance from duo or trio the Winter... Guitars, violin, cello, and percussion all stack up… He’s got a persona that’s all his own.”

George Parsons, Dream Magazine #5

All acoustic, with a string section, recorded and mixed on analogue equipment, and originally released on cassette in 2003 – new 2020 remaster.

Featuring

Sam Prebble (violin)

Mike Kingston (cello)

sam & san

and Simon Sweetman on percussion.

simon w newspaper

Wellington, New Zealand

Bats Theatre, Wellington NZ 2003

 

Loose Autumn Moans consists of five acoustic ensemble tracks:

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5.

The album is structured as a progression from summer (with a NZ pohutukawa tree in flower on the cover) through autumn – a time of harvest, preparation, shortening daylight, and the shedding of old dead layers – and finishes with an extended live version of ‘O Henry Ending’, recorded at the Winter’s first gig.

 

The original C60 cassette (and later online) release included solo interludes recorded in 2002. These are now available separately as

After the Filmshoot (2002)

By focusing on the 2003 sessions Loose Autumn Moans becomes concise, emphasising the lyrics and the jazzy acoustic instrumental interplay – a mini orchestra to bring colour.

Sam Prebble RIP, 2014

Loose Autumn Moans is dedicated to Sam Prebble (aka Bond Street Bridge), who died in 2014.

Further listening

The collaboration with these guys followed on from

The Winter: Parataxes

The Winter live at Photospace Gallery, July 2003 (photo by James Gilberd)

The Winter‘s debut: electric and acoustic trio improvisations for guitars, cello and percussion, by Dave Edwards, Mike Kingston, and Simon Sweetman (2003)

“A strange sonic brew that includes dissonant rock textures, rough outsider folk-blues mysteries, electric and acoustic improvisations and a considerable part of tasty feedback. Imagine equal parts Derek Bailey, New Zealand’s Pumice and classic ’60s blues/folk and you’re in the right ballpark.”The Broken Face

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After the filmshoot (2002)

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Dave Edwards solo cassette tracks, in Wellington NZ, 2002.

Wellington, New Zealand

 

Hey so the new (2020) album Ruasagavulu is out!

(go there, like, share etc)…

 

& in the meantime, until the next new project, here’s one from the vault:

 
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In 2002, a year whose digits are an anagram of this one’s,  I was living in Wellington (New Zealand’s capital, and my birthplace), looking for a way to follow up the almost-success of The Marion Flow (part 2).

But I was moving further away from conventional 3min song formats into the avant-garde.

This is the second largely solo album I made in 2002.

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2002: self-isolation before it was cool?

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The difficult third album – recorded during a time of intense introspection in 2002. I locked myself in my room in Wellington for all of November with an analogue 4-track cassette recorder.The results rapidly put an end to my promising New Zealand music career!

Wellington, New Zealand

In 2002, a year whose digits are an anagram of this one’s, I locked myself in my room for a month of self-isolation.

It had nothing to do with a pandemic!

Kia kaha Aotearoa…

It was just me living in Wellington and looking for a way to follow up The Marion Flow (part 2).

I was moving further away from conventional 3min song formats into the avant-garde. Read the rest of this entry »

Huia Vortex

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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)

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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.

]

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 Electricka Zoo – new tracks, late 2019

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Here’s a pair of new (late 2019) tracks from The Electricka Zoo

Keyboards & electronica by the Digitator

& Dave Black on electric guitar

in Upper Hutt, New Zealand, November 2019

the Electricka Zoo, 2017

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