In Cologne

'Come To Realise', taken from the newly released 'Bunker EP', available to download for free/pay what you feel at: https://jayrodger.bandcamp.com/album/bunker-ep-2

Can you write upon it's soul?
Will I be calling you like I always do?
Frozen in time and it's alright
I helped you like I helped myself
And it's alright

We've come to realise
It's not us who cry
But footsteps will grow to redefine
The rest of our lives

Road charms grow inside your heart
and I need to know if you're at home
Open windows, curtains closed
Door-knock, unlock, heartbeat froze

We've come to realise
It's not us who cry
But footsteps will grow to redefine
The rest of our lives

Come To Realise

A Winged Victory For The Sullen - Belgium 31.05.2012 - We Played Some Open Chords

This is an original piece written by Felix Penny.

Le Petit

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

'Supermoon' out Feb 17!
Pre-order: http://scarey.org/store
Amazon: http://smarturl.it/supermoon_amazon
iTunes: http://smarturl.it/supermoon_itunes

S. Carey - Neverending Fountain (alt. Version)

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)

A contemplative piano sketch with more movement and harmonic exploration than its predecessor. It  shifts between quiet introspection and searching transitions, weaving melodic fragments into a fluid, evolving journey.

Piano No. 4-3: Shifting Currents

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

Mark Bradshaw - Negative Capability

Tivanenko