“Some seriously scrambled dissonance. 80’s vocals hits 60’s electro/cut-up nonsense whilst smothering an ever mutating bassline […] the track contains more musical ideas in its 5 mins than some exhibit in musical careers.” – Simon Baker, What Lies Beneath
The album title translates to “Gamelan Fifth Dimension”.
Gamelan was introduced to New Zealand in the 1970s. It has an active scene in Wellington (my birthplace, where I first encountered it in 2010 – thanks to www.gamelan.org.nz ).
From 2012-2014 I lived in Perth, Western Australia, and played in the ensemble Gamelan Sekar Puri. From there I was able to visit Indonesia (and Malaysia) relatively affordably.
On returning home to New Zealand at the end of 2014, I spent the next few years as a member of theWellington gamelanensembles: Gamelan Taniwha Jaya (Balinese) and Gamelan Padhang Moncar (Javanese). In 2017 I moved to the Wairarapa, so travelling for regular rehearsals became impractical.
The field recordings were made in 2014 in Indonesia -in central Java, then Baliand Nusa Penida islands;
As well as very different scenery, cultures, cuisines and religion – the islands have strikingly different subgenres of gamelan. Stereotypically, the Javanese style is more hypnotic and meditative, while the Balinese style is faster and complex.
Yogyakarta and Surakarta, Central Java
Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia, 2014
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Borobudur temple, Central Java, Indonesia
Javanese shadow puppets, Indonesia, 2014
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese shadow puppets, Indonesia
Javanese gamelan, Indonesia
Javanese gamelan, Indonesia
Javanese gamelan, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Javanese shadow puppets, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Central Java, Indonesia
Yogyakarta, Central Java, Indonesia
Bali and Nusa Penida
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Central Java, Indonesia
Nusa Penida, Indonesia
An endangered Bali Starling, Nusa Penisa, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Bali, Indonesia
Nusa Penida, Indonesia
Credits
Dave Edwards – saron, jublag, jegogan, field recordings, bass, electric guitar, tenor saxophone
The field recordings are mixed alongside gamelan ensembles, recorded between 2010-2018;:
“We go from bossa nova rhythms to folk to RIO to indie to, what is interesting listening if nothing else, a dog howling along to a banjo (Oscar’s Blues) […] and songs taken from Poems & Lyrics (in the Scotch dialect) (1856), where Dave paid tribute to his ancestor John Collie who wrote a book of poems more than 150 years ago.
“It is unusual to find someone playing so confidently in such diverse areas, and anyone into independent music will certainly find something on here to enjoy – Kev Rowland, muzic.nz
águas brilhantes (or ‘glistening waters’ in English) is the Portuguese translation of Wairarapa, the Māori name of the region where I’ve lived the last few years.