Dave Edwards’ second album, The Marion Flow, released at the end of 2001, is a one-of-a-kind collection - warm yet opaque, lyrically and thematically complex yet accessible, written on Taranaki beaches and in Wellington cafes.  It combines a strong pop sensibility and textural warmth with an experimental edge and a conceptual ambitiousness.  The album is designed to connect immediately on first hearing, but contains depths to reward repeated close listening.  Musically it ranges from lazy acoustic pop, through postpunk frenetics, to spoken word and musical abstraction.  Listeners have compared it to Jack Kerouac, The Violent Femmes, Fushitsusha, Bill Direen, Jonathon Richman, Jello Biafra, Nick Cave (if he grew up in Timaru), and Ornette Coleman’s Prime Time, though all these are wide of the mark.

 The Marion Flow is recorded in collaboration with recording engineer, bass player, experimental sound sculptor and visual artist Paul Winstanley.  Previously based in Texas, and one of New Zealand music’s best-kept secrets, Paul has recorded among others Jewel, AMM, The Charalambides, Evan Parker, Keiji Haino, Philip Gayle, and operated sound for the Urban Taniwha 2000 Big Band.  He has released to date six critically acclaimed albums of his own under pseudonyms.  His current project is the Auckland-based electro-acoustic improvisational trio Audible Three.

 The Marion Flow also features instrumental contributions from musicians including the versatile and brilliant drummer Chris O’Connor (Syzygy, Cloudboy, The Ecstasy Trio), guitarist Chris Palmer (Albion Moonlight Band, No Logic Noise Farm – he made the tin can comparison), and others.  It’s destined to be a classic.

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