Music video from the album ‘South Island Sessions‘, set in 19th century New Zealand with an ecological theme. ‘The Ballad of William Knife’ was the name of the show we took to the Dunedin Fringe Festival in 2006.
If you’re a fan of World Music, Blues or Jazz, then ‘The Woods’ are a must have for your collection. With influences from John Lee Hooker to Pharaoh Sanders, from Africa to Peru, their music will take you some place else…
Out now!! the new collaboration with even more legendary & underground NZ artist Snake Beings.
Ngumbang is the first collaborative album by two of New Zealand’s more unusual artist/musician/filmmaker/ethnomusicologists – performed on guitars, bass, banjo, percussion, saxophones, clarinets, harmonicas, synthesisers, Okinawan sanshin, ukulele, violin, loop pedal, piano, drums and spoken word. The album was recorded in and near Auckland, New Zealand in 2014–2015 and includes live performances at Vitamin S and the Audio Foundation.
Emit Snake-Beings, who over several decades has travelled intensively in Spain, Holland, the Middle East, Mexico, America and Japan, is a New Zealand / British experimental filmmaker and musician who has produced over 40 independently released film soundtrack CDs and made a number of short experimental and narrative films in Spain, U.K. and New Zealand. www.snakebeings.co.nz
A few years ago I wrote a chapter of Jazz Aotearoa, a book about New Zealand jazz music history, discussing the free improvisation and avant-garde jazz scene in Wellington at the turn of the millennium.
in the non-idiomatic idiom in Norway is a collection of improvised instrumental music with some of the musicians in that scene, from the point of view of my own attempts as an untrained outsider to fit in with these advanced jazz players – including Jeff Henderson, Blair Latham, Paul Winstanley, Dan Beban, Julie Bevan and more.
It was partly recorded in 1999 and partly in 2014, to show an evolution. An easy way to tell them apart is that Simon O’Rorke played percussion on all the 1999 tracks and synthesiser on all the 2014 ones.
“This is something that he has to do, that he will do, come fame or oblivion” –Chris Knox
The second volume of fiffdimension’s best-of compilations, a sequel to Gleefully Unknown: 1997-2005, sees increasingly wide-ranging experimentation and exploration both sonically and geographically, from New Zealand and beyond to Australia and East Asia.
Sunrise from the summit of Mt Fuji, Japan, 2012
Dave at Sydney Opera House, NSW, Australia
The Winter 2011
Ascension Band stage rig
Ascension Band: Evolution (2005)
After Maths & Sciences (2006)
Ascension Band stage rig
Ascension Band stage rig
Ascension Band, 2005
Dadaepo beach, Busan, South Korea
Busan, South Korea
Korean gayageum, 2007
Steampunk Folktronica, 2010
Dave Black, 2006
The Winter: 2011
Gareth Farr & Gamelan Taniwha Jaya, 2010
Ascension Band, 2005
South Island Sessions (2013)
Ascension Band stage rig
Dave Black, 2006
Dave Black & Nat da Hatt climb Mt Yakushidake, Japan, 2012
1861 revisited – my first pakeha (European) ancestors, Totara Jack and Mary, arrived in the South Island of New Zealand on board the Olympus and settled in Nelson.
John ‘Totara Jack’ Edwards
When I lived nearby a century and a half later,
I found the address where they’d lived, just below a spot on a hill that marks the geographical centre of NZ. To the north is Tasman Bay, and south are the foothills of the Southern Alps.
I jammed with South Island musicians; studied at the Nelson School of Music; played in Hokitika, Greymouth, Westport, Nelson, Blenheim, Lyttelton and Dunedin (as well as Brisbane, Australia); and recorded the sound of tui and makomako (native birds) in Nelson Lakes National Park.
Music by:
Dave Black – acoustic guitar, banjo, drums, harmonica, laptop, field recordings, tenor sax, and vocals
Cylvi Manthyng – vocals & phat beatz
Hayden Gifkins / Matt Thornicroft – electric guitars
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