Te Whare Tīwekaweka is being released at a tumultuous time for te reo and race relations in Aotearoa
Marlon Williams recalls a survey he once read about how often people think about death: on average, once a week. He laughs incredulously. “You know that statistic about men thinking about sex once every seven seconds? That’s how often I think about death.”
In an interview promoting his fourth solo studio album, Te Whare Tīwekaweka, this existential conversation is unexpected. But increasingly, the Aotearoa/New Zealand artist is noticing the way his career pulls him further and further from his roots, and his wellbeing.
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