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Sounds | David Eugene Edwards - Lionisis



David Eugene Edwards, de mystieke mens die bij vooral bekendheid verwierf met 16 Horsepower, maar die met Wovenhand toch ook al heel wat prachtalbums heeft gemaakt, gaat ons nog dit jaar trakteren op zijn eerste echte soloalbum. Hyacinth verschijnt op 29 september via Sargent House.

De eerste video daaruit, LionisisI, klinkt alvast veelbelovend. Het nummer wordt gekenmerkt door DEE's zo typische en unieke gothic klinkende baroc stem en zijn bijzonder karakteristieke akoestische gitaar. Met een bijzonder fraai gefilmde zwart/wit video.

Eind september doorkruist David Eugene Edwards ook Europa waarbij hij op 30 september halt zal houden aan De Roma in Antwerpen. Een zaal die perfect bij de muziek van DEE past. Een aanrader dus!

Lees


David Eugene Edwards has announced his first ever solo album under his own name, sharing the lead single and video from Hyacinth.


David Eugene Edwards has always been larger than life. His atemporal style and powerfully iconoclast presence make him seem a man somehow beyond us.


His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and poignance into musical archetypes long abandoned in the latter-20th Century. Anyone who has seen him perform live will attest to his captivating intensity as he sings and coaxes sweeping, dark fury and beauty from his instrument.


Now, on his first-ever solo album under his own name, Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man’s voice, and sparing instrumentation into the main focus. There’s a somber beauty and world-weary tone throughout these songs. The album could been considered a slight return to the more melodic sounds of 16 Horsepower’s Secret South (2000) and the first, self-titled Wovenhand album (2002). But there’s more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we’re hearing the clock ticking away our own mortality.




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