“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
“The 20 song album covers traditional Javanese and Balinese gamelan, Asian folk music, to free jazz, and free noise. It’s not for anyone with narrow preconceived ideas about what music is, but it is for everyone else.
“If you have an open inquiring mind and love hearing a variety of sound, this is excellent.” – Darryl Baser, muzic.net.nz
by Dave Black (acoustic & electric guitars, banjo, harmonica, laptop, bass, tenor saxophone, field recordings, piano, ukulele, sanshin, saron, jublag, demung, vocal), with
Our main news of 2017 was The Electricka Zoo‘s debut album. music.net.nz called it “a totally original, mind-warping album”.
It’s not too late for your best-album-of-2017 lists, so get your copy today (just click the ‘buy’ button above… yes we’re still more interested in ‘the album’, as a unified artform, with a theme and structure, rather than streaming playlists).
Meanwhile this year we made some progress on social media, reaching the modest milestones of 200 likes for fiffdimension and 100 likes for the Electricka Zoo on Facebook.
Our version of a catchy groove, the first track off the Electricka Zoo album… we’re working on a music video and maybe a 7″ remix, but in the meantime…
We’re happy to announce the release of the Electricka Zoo‘s first (self-titled) album.
the Electricka Zoo, 2017
The Digitator’s gear
the Electricka Zoo, 2017
The Electricka Zoo, 2017
Tapioca Dragon / The Electrica Zoo / 1/3 Octave Band poster
The Electricka Zoo, 2017
the Electricka Zoo, 2017
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.
Also in the line up; the 1/3 Octave Band, aka Bill Wood. A master of tones and drones, Bill an his collaborators in the group have released many CD,s LP’s over the past decade, and recently been championed by no less than former Black Flag frontman Henry Rollins in his column for LA Weekly. Don’t miss this once a year appearance from Mr Wood.
And let’s not forget and that merry duo of free thinkers, Tapioca Dragon, feat. Andy Wright (ex-Orchestra of Spheres) and Mark Williams (MarineVille / Cookie Brooklyn and the Crumbs). Tapioca Dragon released their debut album last year, a collection of 5 improvisations building from sparse, loops and jabs into a psychedelic spin cycle.