One of my all time faves on SoundCloud. Hope you are indeed holding each other in 2020.

Stunning vocals and harmonies. Well played acoustic guitar too. Such a pleasant surprise to hear Marketa Irglova on one of your songs. She's incredible. You're both incredible. Well done with this track. :)

I have been singing this since i saw you play it in Reykjavik! Really beautiful song, Svavar i love you music

Great track Svavar!! reminded me of the 12 Bar Club a few years back!

Calme.

Daphne (feat. Justin Vernon) - Lia Ices

Message To Bears - Maps - 03 The Tourist

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

'Son' taken from the Bunderland EP, available to buy here: http://bunderland.bigcartel.com/
bx

A ballad about changing seasons #singer #acoustic #folk #guitar #new music

Blush

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"

Taken from the upcoming album "Lost In Light". Pre-order your copy now...

http://smarturl.it/SumieLostinLight

+ check out the album trailer...

https://youtu.be/pi3Df_1FXVc

Sumie - Leave Me

01 Flume (Daytrotter Session)

L.A.-based indie supergroup The Living Sisters—Inara George (The Bird and the Bee), Becky Stark (Lavender Diamond) Eleni Mandell, and newest 'sister' Alex Lilly —have followed up their critically adored 2010 album Love to Live with the standards collection Run for Cover. The six song EP, with its intricate retro harmonies and righteously old-school instrumentation from the likes of drummer Don Heffington (Lone Justice, The Jayhawks) and pedal steel master Greg Leisz, provides listeners with some perspective as to the various sources of The Living Sisters’ zesty musical recipe, which “weave[s] together ’40s pop vocalizing, ’50s doo-wop, jazz, folk and country elements in a seamless mélange,” according to the L.A. Times’ Randy Lewis.  

Buy on Vinyl or CD

The Living Sisters - Can You Get To That?

想い出(Memories)

Layers (Live)

Zeus - Let It Go, Don't Let It Go

I wanted to write an untraditional love song telling about the feeling of total abandon and utter and almost desperate love. And I used this song to propose to Líney, who is now my wife.

Part of my album Ölduslóð (way of waves) and basically one of the pillars of the album, a wonderful duet with Markéta Irglová. 
Recorded and produced by Mio of Greenhouse Studios fame.


While The World Burns (Feat. Marketa Irglova)

Gone

Icelandic Singer/songwriter and storyteller. Songs of misery and redemption, serenity and wanderlust.

While The World Burns (Feat. Marketa Irglova)

Svavar Knutur

Recent comments

AshhOfcc

NathanPitts

Jonathan T

Neal Hoffmann

Related tracks