“I have been lucky enough to hear some of Dave Edwards work on this at a couple of shows – very cool concept project and worth a listen” – James Trotman
Background
My great-great-grandfather published his book in 1856, before emigrating to New Zealand for the rest of his life.
Discovering this family outsider art precedent in 2018 cast fiffdimension in a whole new light! It sparked a seven-year project to record musical arrangements of his poems for a new century’s audience.
“And with a trembling hand I launch my tiny vessel into the troubled ocean of literature , where many a noble craft has been shattered to pieces…”
Like his better-known countryman (and influence) Robert Burns, John Collie wrote in both English and Scots. The other half of the album is Poems & Lyrics in the Scotch Dialect
“Songs from the harp and lyre – a fantastic flow back from the ancient days” – Dr Emit Snake-Beings
“I have been lucky enough to hear some of Dave Edwards work on this at a couple of shows – very cool concept project and worth a listen” – James Trotman
Background
“And with a trembling hand I launch my tiny vessel into the troubled ocean of literature , where many a noble craft has been shattered to pieces…”
Recorded a new version for Poems & Lyrics by John Collie (1856). It includes acoustic bass and classical guitar. It’s set to the traditional Scottish tune ‘Skye Boat Song’, and starts with almost a doo-wop feel – before taking a darker turn, as the theme of bereavement is revealed:
“Wellington, NZ composer DaveEdwards with some able assistance from duo or trio theWinter...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, no overdubs, and complete with a string section! Recorded and mixed on analogue equipment, and originally released on cassette in 2003 – new 2020 remaster.
“Edwards‘ art is always an interactive experience, and the spontaneous nature of his audio output encourages descriptions such as abrasive, discordant, sombre and atmospheric. Such adjectives contribute but never tell the whole tale.” – Real Groove
The album is structured as a progression from summer. The cover image shows a NZ pohutukawa tree in flower. It continues through autumn, a time of harvest, preparation, shortening daylight, and the shedding of old dead layers.
It finishes with an extended live version of ‘O Henry Ending‘, recorded at the Winter’s first gig.
“O Henry falling leaves & branches, talk a worried sad refrain
Your eyes half tilt, your brain half mast
To tie the fond anonymous bond beyond yr aching shelter lying walls
That fall to fall, & raise the days, museum haze …”
Credits
Dave Edwards (archtop acoustic guitar, harmonica, vocal, lyrics)
The Winter live at Photospace Gallery, July 2003 (photo by James Gilberd)
“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
The original C60 cassette release of Loose Autumn Moans included solo interludes recorded the previous year, in 2002. These have since been reissued as a separate album.
By shortening to just the 2003 ensemble sessions, Loose Autumn Moans becomes concise. It emphasises the lyrics, and the jazzy acoustic instrumental interplay.
A different take of ‘O Henry Ending‘ was recorded in Melbourne, Australiain 2005. I had just bought a banjo (which I still have), Mike Kingston played acoustic guitar this time, and Francesca Mountfort took the cello role, along with Cylvi M on percussion.
While much of the album was in a new style, incorporating electronica and field recordings, ‘O Henry Ending’ and the presence of fellow expat kiwis provided a thematic bridge from the Wellington days.
To illustrate how a song can be interpreted in multiple ways, the fiffdimension 25th anniversary 2CD features Mouth of the Caveman – and both the 2005 Melbourne version and a new (2022) a live electric arrangement ofO Henry Ending
Adapting John Collie’s words to music is a current major work-in-progress, that .allows a new ‘mature’ version of my acoustic style, and shows the early works, like Loose Autumn Moans, in a new light!
Recorded by John Collie’s great-great-grandson, during pandemic lockdown, March 2020.
‘SOLITUDE’
by John Collie, 1856
OH give me near some swelling stream to stray, 0r tread the windings of some pathless wood, For I am wearied of the bustling day, And long to meet thee, gloomy Solitude: That I with thee may climb those shelfy steeps, Which frown majestic o’er the boiling deeps. Continue reading “Solitude”→
“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.
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.
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.
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
Tracklist
1.
Seafriends 03:07 Dave Edwards – acoustic guitar, vocal Paul Winstanley – fretless bass Chris Palmer – electric guitars Chris O’Connor – drums
2.
A Wedding 03:48 Dave Edwards – electric guitar, piano innards, canvas sheet, vocal
3.
A Visit to the Beehive 00:45 Dave Edwards – acoustic guitar, vocal Simon O’Rorke – drums
4.
Monkeys with Typewriters 03:30 Dave Edwards – electric guitar Chris Palmer – electric guitar Simon O’Rorke – percussion
Seafriends (instrumental mix) 04:05 Dave Edwards – acoustic guitar Paul Winstanley – fretless bass Chris Palmer – electric guitars Chris O’Connor – drums
“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
As the sophomore fiffdimension release (following 1998’s Scratched Surface), The Marion Flow began to mix more experimental elements alongside the songwriting. It shows an evolution in ambition and production values, and a more complex & impressionistic lyrical style.
“I sit in this tower of tongues & bells, & move to the groove
Or so that I’m reckoned, & then I am beckoned
Back to these shoes, nigh marion blues
And so to the seashore our body now go, & tale shall flow & power ye know…” – The Marion Flow
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).
“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
fiffdimension 