As the leader of and , David Eugene Edwards has forged a body of work that has been insufficiently described at times as Appalachian gospel, alternative country, European gothic and punk. But itap Edwards’ passionate expression of his music that is likely its most defining characteristic. Eschewing trends and the trappings of major label marketing, Edwards remains committed to his singular musical vision. We spoke with him about Wovenhand’s latest album, “The Threshing Floor,” and an American tour that begins tonight at the .
RVRB: Since Wovenhand is on an American label () and a European label (), you tour both continents when you release an album. Do you notice big differences in how audiences here and there receive the music?
DE: We’ve always done better in a general sense there, even with 16 Horsepower. There are a lot of variables, but I think itap mainly that the music sounds more unusual and exotic to audiences in Europe, just as some European music sounds exotic to me. We don’t get played on the radio here, or even very much there, itap word of mouth, but the audiences seem to be getting bigger every time we go over there.
The new album incorporates some Tuvan throat singing, Romanian lyrics and other eastern European musical influences. What got you interested in listening to music from different parts of the world?
Even as a kid, I listened to folk music, whether it be Bob Dylan or Johnny Cash —some people might consider Johnny Cash to be country music, but itap folk to me, and there is folk music in all countries. Also, the more I travel, the more influences I come into contact with musically. I listen to music from everywhere. For me, there is a connection in all of it, itap a human connection.
Almost all of your songs convey Christian themes and yet, in a time of religious contentiousness and intolerance, they seem to be able to connect with a wide variety of listeners. Is this something you strive for?
I really don’t think of catering music to any group or belief system. I just sing about what I care about or think about. Especially in Europe, where they don’t speak as much English, I’m sure the connection is with the music first, and later on, they may connect with the lyrics. But I’m sure there are also plenty of people who don’t listen to me because of what I write (laughs).
What do you think have been the biggest changes in the music industry since you started with 16 Horsepower?
We were at the tail end of the “big record company deal” and when it happened to us (with A&M Records), it was kind of like a movie.
They flew us out to L.A. immediately, they introduced us to everyone and they had all the money, they had all the power. We were with the label for two albums and thatap when the Internet exploded and A&M was bought out by Universal. Everyone we knew there was fired and just about everyone but people like Sting and Sheryl Crow were dropped, including us. And, we don’t make videos any more, but thatap what you had to do on a major label. They’d give you $800,000 to make a video. It was crazy. Once all that went away, was more in the hands of the artists. Many more people have the opportunity to hear us now because of the Internet, and I think itap beneficial to have more power and more say. We’re not worried about royalties. We’re not doing this for the money, we just want people to hear what we want to offer. There’s less money, but more exposure. I think itap better for musicians now.
What bands are you listening to now?
Probably 90 percent of what I listen to is traditional, a lot of Mongolian, Iranian, Middle Eastern. I like Om, High on Fire, I like really heavy music thatap right to the point. Also, Bill Callahan of Smog, I think he’s one of the best writers out there. But when I was younger, I was quick to say, “I hate this and I love that.” I hope I’ve matured. Now I don’t have as much time to listen to music so it usually becomes more of a personal relationship. I meet musicians and listen to their music. When you know the person behind the music, it makes it much easier to connect with it and understand it, itap not as much about liking or disliking.
When you perform, you’re able to transmit a tangible intensity from the stage. Does this come more from practice or is it a new challenge each show?
Whatever job you do, there are certain patterns you fall into, and itap not necessarily bad. I will do similar things each night with songs. But in terms of the mood of the audience and whether I feel like performing a song slower or faster, for example, it really is different every night. To me, thatap what I like about live performance — I like to experience the different sides of songs.
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Denver-based writer Sam DeLeo is a published poet, has seen two of his plays produced and is currently finishing his second novel.
