There are obvious advantages to using music as escapism, of losing yourself in a big bright pop space that’s different from your day to day. What The Dawdler does, however, is take the daily reality of so many and turn it into something profound in itself. Edgar creates a world in which it’s ok to be honest, with yourself and in turn with others. There’s no sadness for the sake of it, it’s not performative, just borne out of truth.
“On the first EP I wrote mostly about specific people, real characters. I guess that’s partly continued through to these new recordings, but overall the themes remain the same: death, loneliness, grief, and alcoholism – the big four…” he explains. “I’m not able to just sing songs about some transient pleasure really, as fun as that might be for people at the time, the older you get you realise the things that resonate with you change, and for the better I think.”
Despite a continuation of those core topics, The Dawdler is gentler in so many ways. Influenced by a love of ambient sounds and neo-classical works, it was immersing himself in this sonic world that initially led to a change in output.
“About a decade ago I got much more into Deutsche Grammophon and the whole Erased Tapes roster. Nils Frahm, Max Richter, Grouper, Anne Mueller, Clark. That’s sort of why my other bands ended, because I couldn’t write anything that I actually truly liked. I stopped making music for so long, I’d just lost every ounce of confidence in myself. Playing in Eat Fast was a useful way to get back into performing without any of the pressure of it being my thing. That, plus listening to Grouper and other artists helped me find a way of feeling like I had something else to offer. Okay Champ went on pause and before I knew it I’d written all these little snippets of songs that were entirely their own thing, so that became The Dawdler.”