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
Dave Black, originally from Taranaki and active since the late 90s on the NZ underground music scene, began by fusing acoustic songs, noisy postpunk, spoken word and avant-garde improvisation – and has diversified further from there. Notable performances include the award-winning 14-piece Ascension Band, appearing as an international artist at the Liquid Architecture Festival in Brisbane, Australia, and teaching a thousand Okinawan school students to perform a haka. www.fiffdimension.com
‘Ngumbang’ is Read the rest of this entry »
“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.
“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.
Featuring tracks from the albums
Ascension Band: Evolution (2005)
After Maths & Sciences (2006)
South Island Sessions (2006)
First Time Around: East Asia (2008)
The Winter: 2011 (2011)
The Winter: Flying Visit (2012)
+ previously unreleased tracks
“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
Simon O’Rorke played percussion on
“On the first of the four tracks here, New Zealand experimental musician David A. Edwards spins out these dry verbal expositions of descriptive details in rhythmic and purely compulsive floods, while behind his NZ accented narrative various bloops, noodles and skittering musical sounds are smeared around the canvas. Almost poetry, but often more like verbal textures rather than a focus on the words themselves. His speaking delivery seem purposely emotionless. The second is an instrumental folkish thing that devolves into a battle between squids wearing black rubber raincoats. The third track is sung and perhaps the most “normal” moment here, with a meandering songlike structure and more compulsive verbiage. The fourth and final is almost 24 minutes of narration, swooping bass notes walking through the darkness, clattering spastic percussion, as the words seem to merge film noir dialog with surreal beat poetic train of consciousness.” – George Parsons, Dream Magazine #5