BRIDPORT DAGGER – Knife through Water (interview)

Sweet Sweet Music searched the “noir” corners of the garage and found Bridport Dagger. They just released Knife Through Water, a 4 song EP.

Singer/frontman Jason Idnani-Powdrill shares his thoughts about the songs, the recording process and Harry Dean Stanton.


The 4 songs on Knife Through Water sound so intense. Did that sound come naturally?



We did try and write some sunny-sounding pop songs but we only know how to play minor chords and there’s no windows in the studio. Also, we always play like we’re about to die, whether it be to two people and a dog or a crowd of 500 (although I can’t say we’ve ever played to that many people, we certainly have played to two people and a dog).

Harry Dean Stanton is more than just an actor, is he? You must have known that you had something when you finished that song?


We did, and it’s really caught on with people. It actually started off being a very slow song, but then took on a life of its own and blossomed into this beautiful, great big bird.

It’s not particularly about Harry Dean Stanton, but it needed a great title and he’s an awesome human being so it somehow fit perfectly. He’s also a connection to many of our cinematic tastes, so it’s us paying tribute to him in a way.

If we want to know you, which song do we have to listen to? And why?


All of them. The songs are made of our blood, sweat and beer. We feel that the music is just as important as the words, rather than it just being a vehicle for telling a story, or a stylistic choice. Our lyrics tend to unveil themselves over time rather than being straightforward, and I’d also say that’s an apt description of us as people.


The music industry has changed a lot (or so they say). What did it bring you? And what not?


It brought us the realisation that it’s now much harder to make any kind of living from music, and also that we’re never going to be part of any trend (thank goodness) or part of the hype machine. Whilst the Internet does prove useful in getting your music out to people quickly, there’s just so much stuff swirling around online that there’s still very much a need for word of mouth unless you have a massive promotional force behind you.

Thankfully, the word of mouth is starting to kick in and it’s here that the Internet comes in useful regarding direct communication, so it’s all relative, I guess.

She tells you she will decide on a 5-song-mix tape if there is going to be a second date. Which 5 would you put on?


As I’m married, I decided instead to imagine a young fella wooing a girl he’s met with the following late-night selection:
Townes Van Zandt – Kathleen
Roy Orbison – In Dreams
Tindersticks – A Night in
Gallon Drunk – In the Long Still Night

The Flaming Stars – London After Midnight

When she agrees on the second date, he’ll take her to one of our gigs.

What’s up for the next couple of months?


We’re planning on doing a very limited run of the EP on CD (how quaint), and are also planning to record a double A side for release either later this year or early next year.

We’ve just started working with an independent theatre company – Crooked Tree – on providing the music for an immersive performance that’ll be happening in October at the Brunel Chamber in Rotherhithe (Docklands area of London).

 It’s all very arty, but it’s good to approach making music in a different way than just playing gigs and slinging out records. It’s also a great way to reach a different audience that might not particularly have encountered you at a standard gig too.

We’d like to play some European dates (here’s hoping England comes to it’s senses and votes to stay in the European Union), and we’ve got plenty of new material to work on, so keep your ears open and if anybody has a spare £50,000 available we could certainly put that to good use.”

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