I lost in my thoughts while listening to this. amazing <3

In Cologne

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

When my family moved from a townhouse to a farm way back in 2000, we got a beautiful, scruffy border terrier puppy and named her Winnie Peggle. For years, she would lie quietly by the window whilst I worked on songs and ideas on the piano. If she didn't like what I was working on, she'd let out a yawn, stretch her legs, and waddle off back to her bed. She was the sweetest music critic I've ever encountered.

Last week, after numerous health problems, she passed away peacefully at the grand old age of 13 and has left a huge hole in our family home. I started working on this piece a couple of weeks ago and finished it on the night she died so it seemed only appropriate to dedicate it to our much missed tiny bear. 

Hope y'all like it x

Peggle

Really quick cover. Kinda messy and I might have changed some lyrics but here it is. Lovely song.

Lyrics:

Chained to the wall of our room
Yeah you chained me like a dog in our room
I thought that's how it was
I thought that we were fine
Then the day was night
You were high, you were high
While I was doomed
And dying for
With no life,
With no light.

Tied to my bed,
I was younger then, I had nothing to spend
But time on you
But it made me love,
It made me love,
It made me love more

Do what you said, the words she said - left out
Over sky where I'll soon fly
And she took the time
To believe in, to believe in
What she said...

But it made me love,
But it made me love,
But it made me love more 

Love More (Sharon Van Etten Cover)

Legacy Broken is a cinematic orchestral concept album that explores the psychological weight of legacy, family, and emotional silence. Blending restrained elegance with hypnotic minimalism, each track unfolds like a room in a haunted memory palace—echoes of conversations, legal inheritances, betrayals, and unresolved grief.

Muted strings, fractured piano motifs, trembling horns, and emotionally conflicted harmonic structures form a sonic language of unspoken tension and decaying tradition. The arrangements resist resolution, allowing silence, repetition, and space to carry as much meaning as melody.

This album is not just a score — it’s a portrait of inheritance, power, and the long shadows of memory. The finale song "Inheritance of Silence" concludes with a vocalized song about empty love, wealth and social responsibility. 

1. Ghostly Reflections

Buy Deforestation on vinyl or digital:
Bandcamp: http://smarturl.it/deforest-bc
Norman (UK): http://smarturl.it/deforest-norman
Darla (Distribution): http://smarturl.it/deforest-darla
Spotify: http://smarturl.it/deforest-spotify

Artist Website: http://kaelsmithmusic.com
Artist Facebook: https://www.facebook.com/MuteForest

Packaging:
• 180 Gram vinyl in a gatefold tip-on jacket w/resealable sleeve
• Lacquer cut by Roger Seibel at SAE Mastering 
• Mastered for vinyl and digital by Taylor Deupree
• Bandcamp DL code on card: formats: FLAC, 320K MP3
• Physical copies only receive a free download of the Reforestation EP, including remixes from Kiln, Ten and Tracer, Western Skies Motel, Mombi, Spheruleus, Porya Hatami, plus two bonus songs from Mute Forest.

In a seemingly ceaseless acreage near his childhood home in the Rockies of Colorado, Kael Smith (Mombi, Khale) takes a deep breath and listens critically to the forest. It is not the same sound he remembers as a youth, when he’d disappear for hours deep into these woods. No, the sound he hears today is unfamiliar and vapid. Muted, really.

Since Smith’s departure to the city of Denver; the Mountain Pine Beetle has moved into these woodlands and decimated the trees; devouring their insides and leaving empty husks in its wake. It is among these thinned out swaths a word keeps repeating back to him, over and over, incessantly…Deforestation. 

Painstakingly written, recorded and mixed at his home studio in Denver, 'Deforestation' (Out November 13th on Lost Tribe Sound) sprawls across nine sonorous and meticulously wrought tracks containing elements of minimal electronic, ambient and folk. Large cavernous beats, micro-ambient deconstruction and nylon guitar all swirl into a coherent palate left for Smith’s poignant, intimate words. 

Mastered specifically for vinyl by Taylor Deupree (12k), and with the additional step taken to create lacquers and metal stampers by Roger Siebel at SAE Mastering, 'Deforestation' sees a gatefold 180-gram release from Lost Tribe Sound that, like the material, takes no shortcuts. Both the album’s acetate and test pressing were scrutinized for anomalies on world-class vinyl setups at Arizona’s esteemed high-end audio dealer and vacuum tube specialists, Arizona Hi-Fi. Concluding the deluxe package and connecting intimately with the material within are stark, disintegrating images courtesy of renowned minimalist photographer Christy Romanick (Rivulets, Chihei Hatakeyam).

Deforestation

From God, To Kane, To Seth

Buy Album 

Mute Forest - From God, To Kane, To Seth

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

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