‘The Laughing Stalk’ mines the bottomless chasm of a desperate man at the mercy of an inscrutable God. The rhythms are insistent, the guitars unyielding, and melodies are potent and unrestrained. David Eugene Edwards is as much a force of nature as ever, pulling the entire band forward with the strength of his voice, as if it had its own gravitational field. One can’t quite grab ahold of a singular style—each note is informed by the royal heritages and traditions of punk, of country, of rock & roll, industrial, and Native American music. But newer and unfamiliar elements are percolating and rising to the surface; there is rest, there’s hope, even joy. The Impenetrable becomes penetrable, and the inscrutable countenance of theOther becomes recognizable as an attentive look of compassion and tenderness. An insistent rhythm section that once heralded danger now provides the bedrock for dances of celebration, and turns of light shift minor melodies to major. Perhaps Wovenhand’s finest record to date, ‘The Laughing Stalk’ is the testament of a restless artist seeking to document his findings in a wild, untamed, and impossibly beautiful land.
The Threshingfloor inspires profound conclusions about our humanity: we are kin to those in the far corners of the world, and our kinship lies in our frailty. “Back to dust, as we have been told / clinging to the sky like smoke,” sings Edwards in opener “Sinking Hands.” His characteristically deep, resonant voice calls out to us to remember our wretchedness. But like a grandiose landscape, Edwards' writing and the bandÊ¼s arrangements point to the divine not only as a prowess under which we cower, but as a beauty in which we can rest.
In the words of Robert Browning, Wovenhand heralds "another greater, wilder country" on TEN STONES. From the jarring folk of “White Knuckle Grip”, to the eerie bossa nova of Antonio Carlos Jobim’s “Quiet Nights of Quiet Stars”, to the fiery foot-stomper “Not One Stone”, the album forms a song-cycle that is singular in its breadth and eclecticism. Flanked by the haunting strains of the bandoneoÌn and the drones of the double bass, Edwards’ lyrical inversions stitch symbols into a tapestry of peaceable and hellish imagery—horsetails, honeybees, and bird wings meet flaming battles and barbed wire to proclaim sin’s devastation and the sweetness of redemption. The music of Wovenhand is utterly unique, dizzying those who encounter it, with turnings and lashings of shadow and light.
Free of any boundaries (like saving songs for 16 Horsepower) David Eugene Edwards delivers “Mosaic”. His 4th Wovenhand album and his masterpiece. The album again was put to tape by Robert Ferbrache, a one-time lap-steel player in 16 HP who runs Absinthe Studios in Denver. He doesn’t stray much from his signature sound: mournful, minor key dirges within which Edwards ruminates on his recurring themes of faith, the fallibility of man, and the folly of the non- believer. But on Mosaic he unleashes a maelstrom of intensity and conviction that is as captivating as it is deeply spiritual. This is it. The one. It's magical, dark, mysterious, sinister and gorgeous.
As in the two previous Wovenhand releases, we find David Eugene Edwards stripped down from the more aggressive full-band sound of 16 Horsepower--banjo, piano and upright bass are featured more than guitar. Edwards and company carve out a subtle atmosphere of dreamy folklore-inspired landscapes and channel tribal vibes of raw and spontaneous emotion.
“Woven Hand’s eponymous debut is one of the best records you’re going to hear this year”-d.i.w. (Devil In The Woods Magazine)“[an Album of]rough beautyâ¦”- NO DEPRESSION
“songwriter of apocalyptic intensity" âUNCUT MAGAZINE
“Compelling, tuneful”- MAGNET MAGAZINE
“Woven Hand is a well-crafted and valuable view into Edwards’ uniquely apocalyptic vision.”-PASTE MAGAZINE “I hate to gush, but gush I must. This is my (Andee's) RECORD OF THE YEAR. Done deal. It doesn't matter what happens for the rest of the year. Kurt Kobain could come back from the grave and record a new Nirvana record. Laddio Bollocko could get back together. Earth reunion. It doesn't matter.This is it. THE ONE. It's magical, dark, mysterious, sinister, gorgeous and moves me like very few records do.”- Aquarius Records
Soundsfamilyre is proud to present the Self-Titled Debut album from David Eugene Edwards, Woven Hand. For those unfamiliar with David Eugene Edwards, he played in various bands in his hometown L.A. before he formed 16 Horsepower with Pascal Humbert and Jean-Yves Tola in 1992. After one show, David and Jean-Yves moved to Denver, Colorado where they re-formed the band with bass player Keven Sole. Signed to A&M records from 1995 to 1999, they released one EP 16 Horsepower and two full-length albums, Sackcloth `n` Ashes and Low Estate. These three records were released worldwide and were supported by numerous tours. In 1999, 16 Horsepower severed their ties with A&M (which at that time ceased to exist and is now part of Universal) and signed a one album deal with Razor & Tie Records. Their album for Razor & Tie, Secret South, self-produced and mixed by Paul Corkett, was released worldwide in March 2000. A smashing success it was, too. Spring 2001 saw the release of Hoarse (a live-album originally only sold via mailorder) due to popular demand. Again both releases were supported by extensive touring. After one of these tours 16 Horsepower decided to take a rest to devote more time to other things. Jean-Yves raises horses with his wife, Pascal is building a house. But David had a million ideas that needed an outlet - Woven Hand was born. Released in Europe in early 2002 on Glitterhouse records for Europe and Israel, fans in other parts of the world have eagerly awaited the release. Finally, March 4, 2003, Woven Hand takes shelter “neath a familyre tree."