by Tom Vervoort and Erwin Verstappen
It's a grey November day. In the dining room the light is scanty. A television set splutters a French-speaking soap. We are looking for a location for the picture that has to be taken later on. Perhaps it is better to raise the Venetian Blinds. Coffee is offered. And biscuits. Tea possibly. Or soft drinks. Someone switches on a lamp. Thank you for doing so. The clattering of falling cutlery in the neighbouring kitchen draws our attention. When we turn round again a hand is extended to us. Hey there. How are you? Let's sit down. Things brighten up quickly. On the couch with the troubadour. For the Lord. David Eugene Edwards needs barely three words and as many seconds to describe his music. For ten years he has been the inspired leader of 16 Horsepower from Denver, Colorado and in that capacity he has been delivering an amalgam of Appalachian gospel, folk, rock, country, bluegrass, Cajun and punk. The band's name has its origin in an old traditional that tells the story of a man transporting the dead body of his wife to the cemetery on a cart drawn by sixteen horses. The most dignified parting he can give her. A picture says a thousand words. 16HP stands for Dignity. And believe. Above all Belief. The young David Edwards grew up with his grandparents and enjoys a strict religious upbringing. Together with his grandfather - a preacher of the protestant, Wesleyan Church of the Nazarene - he travels through the south of the States where he is not only impressed by the hymns which are sung in church and white gospel music (brought to the people in the twenties and thirties of the previous century by The Carter Family), but also by the hellfire and brimstone sermons. Since that time he is influenced by a broad pallet of traditional music, both of American and European origin, and by tradition and religion in general. When he discovers Joy Division and The Gun Club at a later age he perceives that similarly. Ian Curtis and Jeffrey Lee Pierce show him the same emotion and honesty as those unknown god fearing musicians from the mountains.
TEMPTATION Yet with 16HP he has released six albums, one by one convincing and impressive, and over the years he has build up a flock of loyal fans - especially in Europe. Not in the least because of the live shows. Modest with the banjo on his lap, pumping with his bandoneon, or sweating with his guitar above his head singing 'Jesus above everything'. There are few people who can do that without it being ridiculous. In these times of genetically engineered food, political correctness, new age twaddle and other placebos it deserves to be called refreshing when someone appears who totally immerses himself in his faith and pursues his goal without compromise: to let us know that God exists. And to live according to His example. Such a strong conviction probably has some consequences.
Doesn't it sometimes lead to tension within the band?
What is your stance toward other religious convictions?
So, if I understand correctly...
And man still wants to be his own master? After eight years of excessive touring 16HP decided on a sabbatical year. Immediately questions arose regarding the continuation of the band. Is there discord among them? Has the passion disappeared? Are faith and Rock & Roll incompatible? Nothing appears to be less true. That year Pascal Humbert (bass) builds a house with his own hands in Canyonlands, near Utah. Jean-Yves Tola (drums) has his work cut out for him breeding horses on his California ranch. And in the meantime David continued writing music and lyrics. He assembled a few new people from Denver round him to shape "it", and before everybody properly realized it Woven Hand was born. No new formula. No new approach. Nothing new. An artist with a well-founded notion will keep saying the same. Is that boring? By no means. Woven Hand's first album did very well, and impressed Ultima Vez choreographer Wim Vandekeybus to such an extent that he engaged Edwards to write music for the project he was working on then, 'Blush'. 'Blush Music' was the logical consequence. A Rocky Mountains soundtrack for a Belgian dance production.
Does he see other like-minded souls in our Old World?
Do we need those images? Because I can imagine that you aren't crazy about people who get stuck in the symbolism itself, and who start to adore or worship that?
When you think about God, do you visualise it?
Do you now see the Pope as the representative of God?
Is that then for you the way to come to God, through love?
God bless you. |