Whether fronting seminal Denver band 16 Horsepower or venturing off on his own with Wovenhand, David Eugene Edwards? voice is unmistakable. Haunting and even abrasive, there is rarely a dull moment to be found when Edwards... more » is behind the pulpit. Diverse in style and delivery, his music is never easy to corner. His latest album under the Wovenhand moniker, Consider The Birds, is no exception. Past influences run the gamut of the bluegrass/folk spectrum. Reviewers like to name-drop Nick Cave & Tom Waits, and have tossed out words like gothic, Americana and even alt-country. In the final analysis, though, no easy tag can be applied to this artist. Six of the album?s ten songs feature Edwards solo, with little more than his fervent voice carrying the tune. Ordy Garrison (drums), Daniel McMahon (piano) and Shane Trost (bass) fill out the sound on the remaining four tracks. The album was put to tape by Robert Ferbrache, a one-time lap-steel player in 16 HP who runs Absinthe Studios. As we?ve come to expect, it?s impossible to not be confronted by Edwards? lyrics, which, in the southern literary tradition of Flannery O?Conner or William Faulkner, are saturated with Biblical allusions. The grandson of a fire-and-brimstone preacher, Edwards channels that old-fashioned tent revival spirit well.« less
Whether fronting seminal Denver band 16 Horsepower or venturing off on his own with Wovenhand, David Eugene Edwards? voice is unmistakable. Haunting and even abrasive, there is rarely a dull moment to be found when Edwards is behind the pulpit. Diverse in style and delivery, his music is never easy to corner. His latest album under the Wovenhand moniker, Consider The Birds, is no exception. Past influences run the gamut of the bluegrass/folk spectrum. Reviewers like to name-drop Nick Cave & Tom Waits, and have tossed out words like gothic, Americana and even alt-country. In the final analysis, though, no easy tag can be applied to this artist. Six of the album?s ten songs feature Edwards solo, with little more than his fervent voice carrying the tune. Ordy Garrison (drums), Daniel McMahon (piano) and Shane Trost (bass) fill out the sound on the remaining four tracks. The album was put to tape by Robert Ferbrache, a one-time lap-steel player in 16 HP who runs Absinthe Studios. As we?ve come to expect, it?s impossible to not be confronted by Edwards? lyrics, which, in the southern literary tradition of Flannery O?Conner or William Faulkner, are saturated with Biblical allusions. The grandson of a fire-and-brimstone preacher, Edwards channels that old-fashioned tent revival spirit well.
"Not sure where the amateur jury sits with this one, or the professionals or,the masses. I'm no advocate of preachy matters, but despite a manic element about David Eugene Edwards, I like the guy's music, and he keeps me interested. This is, and only by small degrees, a more muted product than those familiar with Sixteen Horsepower. I can't believe now, that I came by the group via Slim Cessna. Both writers tackle Christianity, but Slim's spin is ironic and perverse, operating under a C & W umbrella. Edwards is really out there. He sings from a remote place, as if singing will bring him into communion. It's that urgency that I find compelling. There are moments when he casts a similar spell of abandonment that the best Cormac McCarthy writing does. And as uncomfortable as that may be, I find it an invigorating tonic."
Consider the Birds; the best from David Eugene Edwards yet
R. Newman | 09/02/2005
(5 out of 5 stars)
"For fans of Sixteen Horsepower, Woven Hand comes highly reccommended. After their split early in 2005, any of those still in need of their unique, bleak take on the world can look to Woven Hand for more. David Eugene Edwards, the vocalist, songwriter, and banjo/bandoneon player of Sixteen Horsepower formed Woven Hand as a side project while the rest of the band took a break from touring. Now, even though Sixteen Horsepower no longer exists, Woven Hand and Lilium (the band formed by Pascal Humbert and Jean Yves-Tola, the other members of 16 horsepower), are still going strong.
Consider the Birds is the best of Woven Hand yet.
Look for more excellent records from Woven Hand in the future."
Haunting,Starkly beautiful,terrifying...
A. Hogan | Brooklyn, NY USA | 06/12/2007
(5 out of 5 stars)
"David Eugene Edwards,frontman for the late lamented 16 Horsepower,has fashioned a superb album. CTB [yes,the title is a scripture reference] takes woven hands' previous recordings,along with 16HP energy, and fuses it marvelously.Edwards sits in an awkward position:a believing Christian who does not fit into a niche that often is associaited with alot of "christian music"{UGH}Perhaps because it is; A] Good and B}literate he is blessedly passed over by the pablum machine which drives much of that industry. There are some true standouts on this album:Sparrow Falls, Chest of Drawers, the reworking of the old Lutheran hymn,Down in Yon Forest.Edwards sings with the knowledge of a man who has fought the demons within,failed alot, and knows the dawn and a reckoning is coming. He is rapidly becoming my favorite contemporary artist. This is the best recording I have heard in quite sometime,infintely superior to much of what is churned out. Quite simply, this is David Eugene Edwards masterpiece."
What century is this again?
spiral_mind | Pennsylvania | 01/12/2008
(5 out of 5 stars)
"I'm usually pretty sure it's the 21st, but every autumn and winter when the cold air and short days come, the Woven Hand discs have to come off the rack. And once David Edwards starts weaving his compelling web of sound, it's 1876 all over again. If the recording technology (plus the electric bass & keyboards) had existed back then, I'd have no trouble believing that he had really lived in some 19th-century western frontier outpost and these tapes had just been lying in someone's attic until being discovered in 2004, probably fallen behind a dusty wooden whiskey crate.
It's not really fair to compare with his former outfit Sixteen Horsepower, since Woven Hand is a whole different animal. Instead of that burning rockabilly stomp, he goes for an introspective gothic low-key sound on his own (all the better to explore those dark corners of the soul). His religious faith informs this music more than ever, making it almost sound like it could have come from a solemn (and intense) church service. Not the tent-revival kind where people sing and dance themselves into a frenzy, but the kind that puts the fear of the lord into you with a hefty dose of hellfire and brimstone. If it makes you want to sleep with a lantern lit, so much the better. (And really, any associations you may have with the word 'religious' do this disc a disservice. The words are excellent poetry, and their pure sincerity transcends the subject matter entirely.)
It's easy to describe the sound by just talking about the instrumentation (banjo, upright bass, bells, gothic atmospheric keys, bluegrass-y miscellany), but that can't convey how unclassifiable the whole thing is, not to mention what a deeply affecting experience it is to hear. It's easy to talk in vague descriptions (stark, brooding, rustic, country-goth-folk), but that can't convey how dark and exquisitely gorgeous it is. This music is an entity all its own, full of horses and iron, trees, fog and unsettled ghosts. Friends sometimes complain that it's too weird or depressing, but when that mood hits I just CAN NOT STOP. No matter. If you really *get* it, I'm sure you won't either."