postpunk
Articulation Incommunicate (2004)
Previously unreleased!
Dave Edwards dictaphone cassette recordings 2004, for spoken word and improvised guitar – a trip down a road not taken for New Zealand music.
These tracks were primitively recorded, not just obscure but completely unheard by anyone else, and seemed like raw unfinished demos at the time – but in hindsight may be the culmination of my 1997-2005 early period (a fusion of original songs, spoken word and free improv).
By 2004 my style was wordy, dense with allusions, and deliberately flouted not only verse/chorus structures but grammatical convention in parts; the influences here were literary modernists as much as music – eg Joyce, Beckett, Burroughs, Pynchon, Dylan (Thomas), and New Zealand poets James K Baxter, Alan Brunton and Hone Tuwhare. I was a postgrad journalism student that year, so partly it was spare time relief from the constraints of non-fiction writing.
My guitar heroes included British free improviser Derek Bailey and my Mississippi bluesman namesake David ‘Honeyboy’ Edwards – and fellow explorers in the New Zealand underground music scene.
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The album is rounded out by an abrasive noise guitar, dictaphone and electric razor performance at the Bomb the Space Festival (the youtube clip is one of my few music videos to have over a thousand views… go figure),
and a pair of free improvisations, with percussionists Simon O’Rorke and Simon Sweetman, and Korean bassist Youjae Lee.
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- Simon Sweetman
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- Simon O’Rorke
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- Youjae Lee
Next, needing a change of scenery, having pushed the singer/songwriter envelope as far as I could, and following some last ensemble collaborations with Ascension Band,
and The Winter
the next year I left the country on my OE and took a different approach again….
Read the rest of this entry »
Ruasagavulu
‘Ruasagavulu‘ (made in Fiji
by Dave Black & Dr Emit Snake-Beings)
is now a free/name-your-price download – enjoy!
Thanks for your interest, and happy Matariki if you’re in NZ…
“So easy to get totally lost in this music, recommend for helping with your inner peace” – Andi Verse
Indo-Fijian inspired tropical devotional avant-garde instrumentals for keyboards, ukulele, dholak, duduk, harmonicas, DIY kitchen gamelan, and video.
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Snake Beings & Dave Black in Fiji |
This was one of the last in-person international collaborations from before the world ended… it’s got nothing to do with the pandemic.
It was recorded in Suva, Fiji, 2nd and 4th of November 2019.
The title ‘ruasagavulu’ means ‘twenty’ in Fijian, to kick off the new decade optimistically.
Further listening
Our first duo recording was ‘Ngumbang‘ (2015) –
a fusion of several genres and a DIY manifesto – “Pick up the pieces and make them into something new, it’s what we do…”
After the filmshoot (2002)
Dave Edwards solo cassette tracks, in Wellington NZ, 2002.
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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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Sleep/Grease 02:57
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WLAF reprise 03:32
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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.
Ruasagavulu
Out now – the new album
by Dave Black & Dr Emit Snake-Beings
Made in Fiji
“So easy to get totally lost in this music, recommend for helping with your inner peace” – Andi Verse
Indo-Fijian inspired tropical devotional avant-garde instrumentals for keyboards, ukulele, dholak, duduk, harmonicas, DIY kitchen gamelan, and video.
|
Snake Beings & Dave Black in Fiji |
This was one of the last in-person international collaborations from before the world ended… it’s got nothing to do with the pandemic.
It was recorded in Suva, Fiji, 2nd and 4th of November 2019.
The title ‘ruasagavulu’ means ‘twenty’ in Fijian, to kick off the new decade optimistically.
Further listening
Our first duo recording was ‘Ngumbang‘ (2015) –
a fusion of several genres and a DIY manifesto – “Pick up the pieces and make them into something new, it’s what we do…”
2002: self-isolation before it was cool?
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!
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!
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 »
Ruasagavulu – with Snake Beings in Fiji
Made in Suva, Fiji – the new album by Dave Black & Dr Emit Snake-Beings
“So easy to get totally lost in this music, recommend for helping with your inner peace” – Andi Verse
Indo-Fijian inspired tropical devotional avant-garde instrumentals for keyboards, ukulele, dholak, duduk, harmonicas, DIY kitchen gamelan, and video.
This was one of the last in-person international collaborations from before the world ended.
The title ‘ruasagavulu’ means ‘twenty’ in Fijian, to kick off the new decade.
recorded in Suva, Fiji, 2nd November 2019
Further listening
Huia Vortex
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.
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)
“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.
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- Simon O’Rorke
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- Chris O’Connor
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- Paul Winstanley
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- Dave Edwards, 2004
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- Chris Palmer, recording The Marion Flow (2001)
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
The Marion Flow (part 1, Taranaki 1999)
“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.
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;
- for the 2001 Wellington followup recordings see The Marion Flow (part 2);
Further listening
- If you enjoy the avant-garde sound of the last track, try the companion album DDPP: Waiting For the Drummer – recorded at the same sessions in New Plymouth in 1999 with the same personnel;
- for my raw live solo punk sound at the time try Live 1999
Live 1999
Video Posted on Updated on
by Dave Edwards – electric and acoustic guitars, harmonica, vocal
Live at Bar Bodega, Wellington, New Zealand, June 1999.
I was the opening act for Chris Knox, so this is obviously dedicated to him.
Chris influenced generations of artists in NZ and abroad; go check him out if you haven’t already. His place in the pantheon is secure.
Chris Knox
