We’re happy to announce the release of the Electricka Zoo‘s first (self-titled) album.
The duo of Dave Black & the Digitator, The Electricka Zoo combine influences from EDM and post-punk avant-garde rock to jazz, reggae, Balkan and Portuguese music. Their self-titled debut album features 8 original tunes by the bass/guitar and electronica duo wrapped in colourful mandala artwork by Lucie Hannon.
This duo from Taranaki formed in late 2015 following an extended 15 year incubatory period. Roots in rock and electronica, The Electricka Zoo will leave you wondering if you should dance along, close your eyes, or just scratch your head in wonder how two people can produce such a wall of sound.
“Worth searching out coz this lo-fi singer/songwriter oddball has a unique take on the genre. He’s pissed off, a tad fucked up (as usual), but not full of lugubrious self-pity (as unusual) and is happy to get raucous & obnoxious in just the right kinda way.” – Chris Knox
The debut album from fiffdimension – a genuine 1990s teenage no-budget lo-fi post-punk singer-songwriter artifact from the Taranaki, New Zealand underground, recorded on analogue reel-to-reel tape.
Online reissue includes download-only bonus tracks and previously unreleased material.
From these folk/punk beginnings my style evolved into the more complex/impressionistic/visionary approach of The Marion Flow, Mantis Shaped and Worrying, and Loose Autumn Moans. These combined songwriting with an interest in free jazz and poetic modernism that sunk my commercial chances. I stopped writing words entirely with The Winter and Ascension Band, and eventually lived abroad in Australia and Asia and reinvented myself again as Dave Black.
As of 2015 I’m back in NZ where my latest project is Ngumbang, which comes full circle – weaving together these various strands, in collaboration with Emit Snake-Beings who was one of my early influences!
A companion to The Marion Flow, recorded in 1999 by the same lineup who provided that album’s longest (and least conventionally song-based track, pointing the way towards the increasingly radio-unfriendly Mantis Shaped and Worrying), “Lucifer Directing Traffic (at 3AM)”
Recording engineer Paul Winstanley, head of the excellent, now San Francisco-based avant-garde music label Eden Gully recalls it thus:
“after recording tracks for The Marion Flow at Wafer HQ in New Plymouth an ad hoc group of associated locals assembled to record for several sessions of improvised rock/noise deconstruction. really, the only rock references here come from the guitars, with the sputtering synth, air-sucking turntables, didgeridoo and sundry toys providing layers of surreal abstraction. throw in some spoken word and a special guest appearance by N.P. record mogul Brian Wafer on vacuum cleaner and the dAdApApA nova had blazed and fizzled in the blink of an eye.
“it wasn’t until several years later after the master mixes had been lost, partially recovered and then rediscovered intact again that “Waiting for the Drummer’ was given a final mastering and released as a CDR on EdenGully. it’s been a long strange journey…..”
“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
$5 download includes hidden tracks, lyrics and original CDR artwork.
“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
Produced by Paul Winstanley, & featuring Chris O’Connor (drums), Chris Palmer (electric guitars), Simon O’Rorke (percussion), the Dadapapa Magickclone Orchestra and more. Recorded at the TFC Lounge, New Plymouth, 1999, and Thistle Hall, Wellington, 2001.
“Whilst shopping from fiffdimension make sure to get hold of ‘Gleefully Unknown’, a best-of compilation of Dave Edwards’ music from 1997 to 2005. Rough outsider folk-blues mysteries, dissonant rock textures, electric and acoustic improvisations… Edwards strikes me as one of the most overlooked musicians from the fertile lands of New Zealand and if you need a fresh start this might very well be the place.” – Mats Gustafsson, The Broken Face
A compilation of songs, spoken word and instrumentals from the first half of my gloriously unsuccessful career to date… if you enjoy this, try the sequel Fame & Oblivion: 2005-2013
Featuring tracks from the albums