Woven Hand played in Paris in the theater L'Européen.After his set, David Eugene Edwards answered to an interview.

Do you usually starts with “Outlaw song” ?

David Eugene Edwards : Most of times for this tour, yes.

Last year, after Blush was out, you toured Europe with a band. But now, you are almost alone on Consider the bird” and only two for the shows. Can we consider “Woven Hand” is definitely YOUR solo project ?

David Eugene Edwards : That’s right. Sometimes I play with a band, with one, three or four other members. Sometimes I can also play live alone on stage. This is what I did a few weeks ago in Brugge (ndr : the 4th of November for the ‘Music in Mind’ festival). It depends on if I have time to prepare the tour or not and if the other people have availabilities to come with me. But since the beginning of WOVEN HAND, everything I am doing under this name is my personal project.

Why did you choose the name Woven Hand ? Can we define your work as a craftsman or an artisan work ?

David Eugene Edwards : Seriously I don’t remember exactly. (searching) I found this name a long time ago and wrote it on a paper. After I forgot him. But I used the name for a song (ndr : “Wooden brothers” on “Woven Hand”). It’s also the title of the first CD. So I decide to use it and it is a good choice. Craftsman ?

I mean : handmade

David Eugene Edwards : Yes. But everything I do is handmade.

Where do you draw your inspiration for Woven Hand ?

David Eugene Edwards : My inspiration for Woven Hand is the same as for 16 horsepower : there is no difference with when I am writing songs for 16 horsepower or Woven Hand. And my inspiration did not change with time. So, it comes from painting and painters at first. The art of the two last centuries is fine to me. I particularly like somebody called Bloch. Do you know Martin Bloch ?

No, sorry.

David Eugene Edwards : He was a German painter who lived in Britain during the second half of the nineteenth and the first half of the twentieth centuries. His paintings are great. My inspiration comes also from literature. Particularly eastern Europe literature : the Russian writers – I read Dostoïevski, Tolstoï – and Franz Kafka. The classic American writers too. I like also Bruno Ganz (ndlr : I am not sure but Bruno Ganz is a famous swiss player for Werner Herzog and Wim Wenders). Finally, all the things that happen in my life have an influence on me when I’m writing.

Even with 16 horsepower, your music sounds mystic. But the lyrics not overtly, not clearly. With Consider the birds, this is the first time you are using very often religious and spiritual words and subjects. Why ?

David Eugene Edwards : Because these subjects have a place in my whole life, everyday. So, I think it’s normal to talk about them in my songs. And it’s important for me.

Since Folklor” everything you are doing seems more personal, intimate.

David Eugene Edwards : That’s right. Just before recording “Folklore”, 16 horsepower did a break because we toured a lot. Jean-Yves has got a ranch and Pascal breeds horses. These jobs take a lot of time, you know : they are both working hard. From my side, I have not any other job : I am only doing music and touring. So I am working my music a lot and I’m writing alone. That’s the reason why my songs are more personal since “Folklore”. That’s the reason why I started Woven Hand too. I’m writing a lot of songs but 16 horsepower doesn’t have the time to record them. Nevertheless, I think 16 horsepower will record in February-March next year. I hope.

On Consider the birds there is a strange song, “Chest of drawers”. You are talking about “the three of us asleep”, who are they ?

David Eugene Edwards : (with a smile ) What do you mean ?

I mean: may be “the three of us” are the 16 horsepower members. After you write about “the strength of sixteen horses”…

David Eugene Edwards : No. It’s talking about my own life, from a particular period of my life. The three of us are me, my wife and my daughter. It’s definitely not about the 16 horsepower members.

Don’t you feel there is sometimes contrast between your lyrics (positive) and your music (dark) on titles like “to make a ring” or “Oil on panel” ?

David Eugene Edwards : Yes, I feel this contrast. Lots of my songs have it. But you can find this contrast in the every day’s life : sometimes good things raise up from bad things and vice-versa. That’s what I feel when I’m writing songs and I like this way.

Has religion an influence on your life ?

David Eugene Edwards : Religion influences everything I am doing. My relation with God is leading my life. My relations with my wife, my friends and everybody I am talking to, everything I am doing depends on my relation with God.

You are doing a cover, “Down in yon forest”, once again a traditional song. How do you choose your covers ?

David Eugene Edwards : There is no particular way. When I like the song and the lyrics, I am working on it. “Down in yon forest” is a very old song, written two or three thousand years ago (ndr : the first trace of the song dates from 1862 in an English notebook, but the birth is before. There are several versions of this traditional song, the Woven Hand version is close to the Derbyshire version). The lyrics are beautiful and written in old english. I like this kind of song.

The last song is very special…

David Eugene Edwards : Yes it’s a prayer.

Are you agree with me when I say some of your songs (Woven Hand and Horsepower tracks) are “songs to dance”, just like in the “Clogger” video ?

David Eugene Edwards : (Laughing) During the shows, I watched people dancing on my songs. Sometimes. But other people don’t even move a finger : it depends of them. Even if what I am playing is not dance music, I appreciate to see people dancing.

Do you like playing live and touring ?

David Eugene Edwards : Touring, hum… Not exactly. But I like to play live : I want to see the people faces and their reaction to the songs.

What is your best souvenir from your live performances with Ultima Vez for Blus” ?

David Eugene Edwards : It was really pleasant to work with Wim Vandekeybus and Ultima Vez. We played live with them eight or ten times. It was a completely different job for me. I didn’t used to play live in this way. I have to look at the dancers and take care of what they did, what I did. When they slacken, I need to play slow and when they move faster, I need to play faster. I like to play with them. All performances with Ultima Vez were fantastic. The final shows for Blush will be in early January 2005 in Brussels and Barcelona.

Can you sum up Woven Hand in three words ?

David Eugene Edwards : (after a long time) Hum… (laughing) Trouble trouble trouble. Trouble three times, exactly.

I don’t dare to ask him why.
I let you guess.

Thanks to David for his kindness and availability.
Thanks to Sean @ Talitres and the girl who made this interview possible.