Good percussions and guitar. So nice session

Music for Contemporary Dance, Technique: Volume One

Lotic (Weight Transfer)

Album

Short Works

Uh-Kyoo-i -Tee

Uh - Kyoo - i-Tee

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

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

Music for the Accompaniment of Dance Classes

Music for Contemporary Dance, Dance Drums: Volume Three

Universal (Adage)

Music for Contemporary Dance, Dance Drums: Volume Four

Five and Seven

Five And Seven

clouded judgement

Postcards From

Fiona Brice - Berlin

its a soundtrack to someone saying goodbye to someone close to them, as they go off into the sky to be a space travelling sailor in the future.  its about sadness but happiness too.  in the future.


download mp3 + artwork:  http://kingdeluxe.ca/missin-u

Slugabed - missin U

Modern Ballet & Contemporary Dance – Lounge and Ambient Music for Contemporary and Modern Dance Performances

Contemporary Dance

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

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