Good percussions and guitar. So nice session

April 1st will see Peter Broderick’s classic Erased Tapes debut Music For Falling From Trees reissued on vinyl and CD.

Through relentless touring and multiple album recordings, Portland-based Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs.  The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter.

2009’s Music for Falling From Trees, a 30-minute piece in seven sections, was created for a contemporary dance by London-based choreographer Adrienne Hart at Neon Dance. Adrienne was looking for a score of piano and strings, so Peter left the guitar and his voice aside and focused entirely on those two timbres. 

The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. The music is sometimes melancholic, sometimes playful, sometimes chaotic, but with the combination of piano and strings, full of beauty, reverence and awe. 

IN HIS OWN WORDS: “In late 2008, Adrienne Hart contacted me about scoring her new work, Falling From Trees. In Adrienne's words, ‘the piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances.’ There are four dancers in the piece. One male playing the patient, and three female hospital workers. 

I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano. 

Given the time constraints, I approached the music in a very open way. Rather than sit down and try to compose something, I just set up a microphone and started playing. After coming up with a couple of themes on the piano, I started recording, using those small themes and improvising around them. Most of the sections have a small core that is composed, and then the rest is improvised. Luckily for me this method seemed to work. I would work all day and then send a sketch over to Adrienne, and every time her response was positive. So in this way we worked very well together. I give my hugest thanks to Adrienne for trusting me to create the music for her wonderful work. 

Adrienne told me from the beginning she was looking for a score of piano and strings. So I decided to take this literally and make a rule not to use any other instruments. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails. The sound of an electric shock given to the patient is depicted by a quick, distorted piano chord. And all other droning and bass tones were made by extending and processing violin and/or piano tones, etc. Thank you very much for listening.” – Peter Broderick, March 2009

'Painfully young and unnervingly talented' 
– The Economist’s Intelligent Life

Buy CD/LP/DL

Peter Broderick – Part 4: The Dream

Good morning and welcome to just another day in August. What will you do with your time today? Me? I'm going to spend about an hour sharing this amazing track with you. Then I'll go for an hour-long walk in the park, and listen to my own track which [I think] I finished last night. Yesterday I dug out one of my older synths (it's the Novation Nova) and pushed myself to extract some beautiful ambient swells from it. I think I've succeeded, at least in my way. Composing music could be a very solitary experience for me, and even though it is immensely therapeutic and often very much reflective, it does, on occasion, get a little bit lonely. It's like saying something to no one in particular, but once it's said, it does "feel" better. Even if there's no one to say something in return. But I do miss conversations. Conversations about music and conversations with music, in an abstract sort of language between two composers sharing a vision and sculpting a tale. This is where Vince Pope's idea of collaborating with numerous artists from around the world really resonates. He acknowledges our current predicament and beyond by accepting that we are "... divided by language, ideas, history, but united by the desire to create music..." For his truly collaborative release, titled Together Apart, Pope gathers artists from a wide representation of musical genres, including Dmitry Evgrafov, Stefano Guzzetti, Sophie Hutchings, and many others on his 12-track album, to use music as the means to connect us again -  "music, the language that all of us understand and that needs no translation."

Together Apart

Concrete Clouds

TRACK PREMIERE : Vince Pope, Lambert - Concrete Clouds

Erased Tapes are proud to announce the first in a series of Bell Orchestre reissues. The band’s landmark debut album Recording a Tape the Colour of the Light is now streaming everywhere, with the original masters being repressed on vinyl for the first time since its original release in 2005. The vinyl reissue is out January 13 and available to pre-order now.

Formed in 1999 whilst studying in Montreal, the first music Bell Orchestre made was live scores for contemporary dance performances and puppet shows. Looking back at the band’s early years two decades later, drummer Stefan Schneider says: “Everybody was doing random things to pay the rent like working at cafes, busking, cooking at a daycare, making pizzas, teaching kids in China English by telephone at four in the morning. Mostly in our early 20s, Montreal was cheap, a little grungy and there was a vibrant DIY scene. We were all excited about this special chemistry that was felt making music together.”

A few years later, the writing and recording sessions for Recording a Tape... started taking shape. Most of the music was written in Kaveh Nabatian’s family cabin near a lake in remote Vermont in the deep winter. The roads weren’t ploughed, so to get there the group of friends had to cross a frozen lake on foot, carrying the instruments and boxes of food on sleds over snow and ice.

“The first pieces of music that were actually recorded were the field recordings that became the opening, middle and closing of the album. Pietro and I lived together in this loft that was beside the Lachine canal, and at the bottom of our street there was a traffic tunnel that went underneath the canal, and whenever I went walking down there I noticed the incredible acoustics — the sound of cars driving through it was this immense kind of oceanic sound. Pietro and Kaveh just improvised all these slow moving fanfare ideas, just playing together until their instruments got too cold to play and we eventually had to go inside again”, Richard Reed Parry remembers.

When the group entered the now-legendary Montreal studio Hotel2Tango, Arcade Fire were also recording their eponymous debut Funeral there and the two bands had to take turns recording. Due to the growing interest in Arcade Fire, Bell Orchestre was put on hold as members of both bands, Parry and Sarah Neufeld, quickly became occupied with Arcade Fire’s busy touring schedule. “The Bell Orchestre album was almost done, but it kind of sat there. We were just sitting on this album that we were really proud of, but we didn't have anyone to pay attention to it” Parry told Pitchfork in 2005. After signing to Rough Trade the same year, the album was released to critical acclaim and despite being overshadowed has since received cult status among fans.

After almost a decade of hiatus, the band signed to Erased Tapes in 2020. Long-time fan and friend of Bell Orchestre and its individual members, label founder Robert Raths was equally excited about them releasing new music and the opportunity to shine more light on their astonishing body of work.

“This record has always had a firm place in the wider Erased Tapes story, because it contributed heavily to some of us connecting online and eventually meeting in person. It is deeply ingrained in my memory of the time when I had just moved to London. I worked across the street from this small record shop called Pure Groove, where I’m pretty sure I picked up a copy based on its intriguing title and a hand-written note of recommendation by the staff.”

“When retouching the artwork files for this reissue, I noticed something I hadn’t noticed before. There is this seismographic disc that’s printed on the labels, which is astonishingly similar to the one that forms the basis for the original Erased Tapes mountain logo drawing by Chris Hernandez from 2007. When I pointed this funny little coincidence out to Richard, he immediately agreed it would be damn nice to highlight this connection,” states Robert Raths.

Recording a Tape the Colour of the Light

Bell Orchestre - Les Lumières Pt. 1

Panta Rhei

Interlude 2

Music for Contemporary Dance, Dance Drums: Volume Four

Five and Seven

Five And Seven

Format: CD, LP, Download | Releasedate: 05.09.2014

TRACKLISTING CD:

01.	So-Called Lover
02.	Care
03.	Oedland 
04.	You
05.	Jungholz
06.	Masquerade
07.	Walk On
08.	Dance To The Mallet feat. Lisa Bassenge
09.	Ein Engel Verschwand
10.	Dawning
11.	Gone
12.	Selfie

iTunes: geni.us/KasariTunes
Amazon: geni.us/KasarAMAZON

Arnold Kasar is a musical jack of all trades: in countless projects around the Berlin based label Sonar Kollektiv, the musician grown in the southern area of the picturesque Black Forest left his traces, among them Nylon, AtomHockey or with Volksbühne-player and latest Internet-Hype Friedrich Liechtenstein („Supergeil“). 
However, the trained sound-engineer is also capable of going solo, as he proved with his solo debut „The Piano Has Been Smoking“ in 2012. Now he returned to his first instrument and his timing couldn't be better, since the piano returned to new strength in the music world, as the numerous releases of pianists in the past few years have shown.

„I really hope that the timing is good, but I can't influence it. At last I do it for my own. When I started doing music as Kasar back in 2010, I just didn't know Nils Frahm or Brandt Brauer Frick. All these people weren't on the spot by then. I listened to Gonzales and of course Hauschka and Craig Armstrong were there, too. Yann Tiersen was totally famous at that time“, the pianist explains his view on his colleagues when he started making music by himself. But, with releasing his second album „Walk On“ at this point, he didn't intend to flirt with a hype. The piano, which has accompanied Arnold Kasar from his childhood on, always just fell out of the recordings in the past. Due to this enduring relationship to his first instrument he got bored of it. Instead, he preferred to dedicate himself to sample-based electronic music with his friend Friedrich Liechtenstein or making Nu Jazz in several musical projects around the world-famous Berlin based Sonar Kollektiv (home to Jazzanova, The Black Seeds or Solomun). But sooner or later the piano had to return to the centre of attention.

That was in 2010: at that point the work on the new LP „The Piano Has Been Smoking“ had started, being released in 2012 and fully concentrating around the piano. By then Kasar already used the technique of the prepared piano, which once was introduced by John Cage and nowadays is excessively used by Hauschka, among others. For this Kasar used erasers, tea bags or patches to manipulate the sound of the piano and to bring out unheard and exciting tones of his instrument. Only one song, the designated single „Put A Light On Me“, was supposed to have a vocal track, but after he didn't find the right voice for it, he simply sang it himself. Like this, for the first time the world got to hear the dark and melancholic timbre of Arnold Kasar. The desired airplay (i.a. Austrian „FM4“ or Berlin's „RBB RadioEins“) was achieved easily and from that moment on Kasar was delighted by the idea of singing on his own productions, since he had closed the chapter of producing an album on a prepared piano anyway. For this reason the comparison with an artist such as Hauschka, who made this technique the concept of his own creative work, is merely adequate. Kasar rather walks on, restless and always willing to try something new.

But this doesn't mean that he has to quit it completely: also on „Walk On“ one finds a few pieces with the support of the prepared piano, but this time the singing is clearly in the foreground. Like this, the whole vibe of the record changes: „I'd say the last record was way more a city record“ referring to the by then used techno-elements, for example, „and the new one is a record for the countryside.“, especially inspired by Arthur Russell's most intimate album „World Of Echo“. On this record the composer who rose to cult status in the past years leaves the disco era behind him and presents a fragile artist using voice, cello and a lot of reverb only: „A song like „So Called Lover“ mainly emerged from Arthur Russell listening sessions“, Kasar tells full of admiration for the musician who died of AIDS in 1992.

Other role models are surprising as well as comprehensible: „I like singers like the early Manfred Krug a lot, this warm and tender voice – of course, in German, but the way he sang – or Japan's singer David Sylvian, those were the things I acted on. Much songwriting-inspiration came from Wilco, Nick Drake, Aimée Mann or also Bill Callahan.

But how Kasar came to the definition „countryside record“ is a story of its own: „It is way more singing this time, that's a huge leap, it's much less electronics and there's more space. It's less town and much more landscape and for me it really is this countryside record. „Jungholz“ for example is the name of a village in the southern Black Forest, „Ödland“ is the name of the highest mountain in that area and „Ein Engel Verschwand“ is an adaptation of another village's name there called „Engelschwand“. „So Called Lover“ takes place in „a shady town in the shore“, which in a way is a reference to the Rhine, which could be the mentioned river, and this „whipping willow“, all these are things coming out of my memories, since I originate from that area. It's not autobiographic but I simply imagined how it was back then, sitting under the willow by the river. Partly I recorded the songs right there: „Ein Engel Verschwand“, „Jungholz“ and „Ödland“ and nearly all playbacks were recorded on the piano on which I practiced when I was a child. I always hated it to play this piano: a Hohner, awful sound, but once you used the felt pedal it got such an odd sound, really strange – that's not the sound of a great Steinway, but small and odd.“ So all of this isn't supposed to be autobiographic but without all these experiences Kasar gained in the depths of the southern Black Forest, „Walk On“ probably would never have come into being.

The song that gave the album its title was the first Kasar had written for „Walk On“, right after the release of his debut record. At this stage the theatre art graduate was in a downright stream of composing. Many songs were quickly outlined, however he took ages to get to the finished product. The production phase lasted – with interruptions – from spring 2012 to fall 2013. And since February this year the record is waiting to be thrown onto the market, but haste makes waste. Songs like those you find on „Walk On“, where the piano sounds like raindrops rolling down the scale, while there's an electronic tempest in the background („Ödland“), or which are so fragile they bring tears to your eyes („Care“) simply have to be released in the dying season.

But who thinks that everything on this album is melancholic and sad is proven wrong by „Dawning“, which isn't at all like the rest of the LP: with a jagged new wave beat, a sexy 80s sounding sax and an optimistic chorus, Kasar also shows his up-tempo side and gives some unmissable signs towards radio airplay.

A whole lot slower is the collaboration with long-time friend Lisa Bassenge, singer of Nu Jazz outfit Micatone and Kasar's colleague at Nylon. Together they sing the hypnotic „Dance To The Mallet“, which starts off jazzy, but also offers itself – with its electronic substructure – as a huge playground for remixers. However, the way this liaison came up is rather unspectacular: „One time we went out for dinner and I told her about the album I was working on and there she immediately offered her help if I needed some. So a few months later I called her and played the song to her and she instantly liked it. She wrote the lyrics to it and then we quickly recorded it in one take. Her musical director Paul Kleber is also involved in the song „You“ and Sebastian Borkowski from Jazzanova plays sax in another song. So it's sort of all around the Sonar Kollektiv and Micatone”. It stays all in the family.

www.kasarmusic.de | www.sonarkollektiv.com

Walk On

Oedland

iTunes

Kasar - Oedland

the trail is getting narrower

recorded live at Emil Berliner Studios, strictly analog & direct to vinyl (Neumann VMS80)!
Recording Date: July 12, 2015 //
coming up soon on
berliner-meister-schallplatten.de

Friedrich Liechtenstein Trio - Schönes Boot Aus Klang Snippet

From the album 'Music For Falling From Trees' by Peter Broderick released in 2009 on Western Vinyl.  Available soon as a limited edition 180 gram 45 rpm vinyl EP.

Vinyl:http://westernvinyl.com/shop/wv62
iTunes: https://itunes.apple.com/us/album/music-for-falling-from-trees/id377393049

Artist Page: http://westernvinyl.com/artists/peter-broderick
Website: http://www.peterbroderick.net/


2009’s Music for Falling From Trees, a 30-minute piece in seven sections, was created for a contemporary dance by London-based choreographer Adrienne Hart at Neon Dance. Adrienne was looking for a score of piano and strings, so Peter left the guitar and his voice aside and focused entirely on those two timbres.

The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. The music is sometimes melancholic, sometimes playful, sometimes chaotic, but with the combination of piano and strings, full of beauty, reverence and awe.

“In late 2008, Adrienne Hart contacted me about scoring her new work, Falling From Trees. In Adrienne's words, ‘the piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances.’ There are four dancers in the piece. One male playing the patient, and three female hospital workers.

I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano.

Given the time constraints, I approached the music in a very open way. Rather than sit down and try to compose something, I just set up a microphone and started playing. After coming up with a couple of themes on the piano, I started recording, using those small themes and improvising around them. Most of the sections have a small core that is composed, and then the rest is improvised. Luckily for me this method seemed to work. I would work all day and then send a sketch over to Adrienne, and every time her response was positive. So in this way we worked very well together. I give my hugest thanks to Adrienne for trusting me to create the music for her wonderful work.

Adrienne told me from the beginning she was looking for a score of piano and strings. So I decided to take this literally and make a rule not to use any other instruments. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails. The sound of an electric shock given to the patient is depicted by a quick, distorted piano chord. And all other droning and bass tones were made by extending and processing violin and/or piano tones, etc. Thank you very much for listening.” – Peter Broderick, March 2009

Peter Broderick - "The Dream"

Created By NK-67
Uploaded By LVV Corporation

NK - 67 Wasteland

Happy Piano Day 2019!

This is special analogue tape recording written to celebrate this wonderful holiday. Enjoy! 

#PianoDay #PianoDay2019

Tape 1921 (Piano Day 2019)

Aidan Kane Munn is a Dance Teacher, Choreographer, and Music Producer from Adelaide, South Australia. Primarily creating music for Contemporary Dance Classes and Dance Performances. Other musical projects include Nufu Style, and Terrible Element.

Five And Seven

Aidan Kane Munn

Recent comments

Negative Headphone

Related tracks