FRACTURED AIR

The universe is making music all the time

TICKETS ON SALE: Peter Broderick / w. Loch Lomond / Sun. 19 October 2014 / Half Moon Theatre, Cork

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peterbroderick_poster_web

Just a final reminder that tickets are now on sale for the following concert:

Fractured Air presents:
Peter Broderick (plus band) (USA/Erased Tapes/Bella Union)
w/ special guests Loch Lomond (USA/Chemikal Underground)
Half Moon Theatre, Cork on Sunday 19 October 2014

Tickets are priced at €15 and are available now from Cork Opera House box office, Emmet Place, Cork, or online from the following link:

http://www.corkoperahouse.ie/events/peter-broderick-plus-band

All details are below. Thank you.

 


 

PETER BRODERICK (USA/Erased Tapes/Bella Union)

Peter Broderick’s name has become synonymous with the thriving independent music scene over the past decade, having released ground-breaking albums on prestigious record labels such as Erased Tapes, Bella Union and Type Records. 2014 has already been a busy year for the ever-prolific musician, releasing the collaborative project with British composer Greg Haines under the guise of Greg Gives Peter Space (where the duo share their fascination with dub music), and collaborating on the latest full-length from The Album Leaf (‘Never Held A Baby’).

Peter Broderick (b. 1987) is an American-born multi-instrumentalist and singer-songwriter. In his later teenage years he became entwined in the Portland, Oregon indie folk scene, recording for the likes of M. Ward, Laura Gibson, Horse Feathers and Dolorean. 2007 saw him moving across the ocean to Denmark, where he began a long collaboration with the Danish band Efterklang, touring around the world with them for the next five years (and prominently featured on the recordings ‘Performing Parades’ (2009), ‘Magic Chairs’ (2010) and ‘Piramida’ (2012).

Meanwhile he recorded several albums of solo material, ranging from sparse classical compositions (‘Float’) to homemade folk music (‘Home’), constantly experimenting with different musical genres (2012’s ‘These Walls Of Mine’ fuses country, folk, Neoclassical, ambient and hip-hop), and also being commissioned to write music for several films and contemporary dance works (‘Music For Falling From Trees’, ‘Music For Contemporary Dance’). He then lived in Berlin for several years where he met and collaborated with Nils Frahm, Dustin O’ Halloran, Machinefabriek, Lubomyr Melnyk and several others.

——

Press for Peter Broderick:

“Incremental creep of wickedness” — BBC Music
“A songwriter of beguiling depth” — The Sunday Times
“A series of shiveringly atmospheric compositions” — Q
“Painfully young and unnervingly talented” — The Economist
“A precociously talented multi-instrumentalist” — The Independent

——

LOCH LOMOND (USA/Chemikal Underground)

Loch Lomond is the Portland Oregon-based chamber pop/folk group which began as a solo project of Ritchie Young in 2003 with their debut release ‘When We Were Mountains’. While Broderick has joined the band numerous times (drums, violin, mandolin, vocals), Loch Lomond have released three further albums to date:‘Paper The Walls’ in 2007; ‘Little Me Will Start A Storm’ in 2011 and current full-length ‘Dresses’ in 2013. Loch Lomond are currently signed to the prestigious Glasgow-based independent label Chemikal Underground (The Phantom Band, Adrian Crowley, Aidan Moffat).

——

Press for Loch Lomond:

“Vaguely surreal, harmonic and orchestral”
—The List

“Evokes the articulation of emotion synthesized sweetly, euphonically, gracefuly… perfectly”
—Drowned in Sound

“Very much the work of a band playing off each other’s strengths… a quiet triumph”
—The Line of Best Fit

 


 

Facebook Event Page:

https://www.facebook.com/events/1529825180574307/?ref=22

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Purchase Tickets:

http://www.corkoperahouse.ie/events/peter-broderick-plus-band

——

Links:

http://www.peterbroderick.net/
http://www.erasedtapes.com/

https://www.facebook.com/lochlomondmusic
http://www.chemikal.co.uk/

 


 

Written by admin

July 30, 2014 at 4:00 pm

Mixtape: For Peter (A Mixtape by Fractured Air)

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mix_sleeve_forpeter

For Peter [A Fractured Air Mix]

A selection of music based on (and inspired by) the music of American-born multi-instrumentalist and singer-songwriter Peter Broderick.

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/for-peter-a-fractured-air-mix/

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Tracklisting:

01. Peter Broderick ‘A Beginning’ [Erased Tapes]
02. Peter Broderick ‘Walking/Thinking’ [Type]
03. Talk Talk ‘Eden’ [Parlophone]
04. Oliveray ‘The Book She Wrote And In The Time’ [Erased Tapes]
05. Nils Frahm ‘Interview Excerpt, November 2012’ [Fractured Air]
06. Nils Frahm ‘Peter’ [Erased Tapes]
07. Rival Consoles ‘Daddy (feat. Peter Broderick)’ [Erased Tapes]
08. Greg Gives Peter Space ‘The Drive’ [Erased Tapes]
09. Efterklang & The Danish National Chamber Orchestra ‘Mirador’ (Live) [Leaf, Rumraket]
10. Peter Broderick ‘The Path to Recovery’ [Erased Tapes]
11. Lubomyr Melnyk ‘Interview Excerpt, March 2013’ [Fractured Air]
12. Lubomyr Melnyk ‘Pockets Of Light’ (Excerpt) [Erased Tapes]
13. The Album Leaf ‘Never Held a Baby’ (feat. Peter Broderick) [Not On Label]
14. Tiny Vipers ‘Dreamer’ [Sub Pop]
15. Peter Broderick ‘An Ending’ [Erased Tapes]

————

The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.


 

Peter Broderick (plus band) with special guest Loch Lomond performs at the Half Moon Theatre, Cork on Sunday 19 October 2014. Tickets are €15, available now from Cork Opera House box office, Emmet Place, Cork and online from the link below.

PURCHASE TICKETS HERE:
http://www.corkoperahouse.ie/events/peter-broderick-plus-band

 

For full European tour dates please visit:

http://www.peterbroderick.net/
http://www.erasedtapes.com/

 


 

Written by admin

July 29, 2014 at 3:17 pm

ANNOUNCEMENT: Peter Broderick w/ Loch Lomond / Sunday 19 October 2014 / Half Moon Theatre, Cork

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We are delighted to announce the return of Portland Oregon’s Peter Broderick (plus band) with special guests Loch Lomond for a special concert at the Half Moon Theatre, Cork, on Sunday 19 October 2014. All details below.

peter_broderick_web

 

Fractured Air presents
Peter Broderick (plus band) w/ special guests Loch Lomond
Half Moon Theatre, Cork on Sunday 19 October 2014

Tickets are €15, available now from Cork Opera House box office, Emmet Place, Cork.

PURCHASE TICKETS HERE:
http://www.corkoperahouse.ie/events/peter-broderick-plus-band

 


 

Fractured Air presents: Peter Broderick (USA/Erased Tapes/Bella Union)

Peter Broderick’s name has become synonymous with the thriving independent music scene over the past decade, having released ground-breaking albums on prestigious record labels such as Erased Tapes, Bella Union and Type Records. 2014 has already been a busy year for the ever-prolific musician, releasing the collaborative project with British composer Greg Haines under the guise of Greg Gives Peter Space (where the duo share their fascination with dub music), and collaborating on the latest full-length from The Album Leaf (‘Never Held A Baby’).

Peter Broderick (b. 1987) is an American-born multi-instrumentalist and singer-songwriter. In his later teenage years he became entwined in the Portland, Oregon indie folk scene, recording for the likes of M. Ward, Laura Gibson, Horse Feathers and Dolorean. 2007 saw him moving across the ocean to Denmark, where he began a long collaboration with the Danish band Efterklang, touring around the world with them for the next five years (and prominently featured on the recordings ‘Performing Parades’ (2009), ‘Magic Chairs’ (2010) and ‘Piramida’ (2012).

Meanwhile he recorded several albums of solo material, ranging from sparse classical compositions (‘Float’) to homemade folk music (‘Home’), constantly experimenting with different musical genres (2012’s ‘These Walls Of Mine’ fuses country, folk, Neoclassical, ambient and hip-hop), and also being commissioned to write music for several films and contemporary dance works (‘Music For Falling From Trees’, ‘Music For Contemporary Dance’). He then lived in Berlin for several years where he met and collaborated with Nils Frahm, Dustin O’ Halloran, Machinefabriek, Lubomyr Melnyk and several others.

——

Press:

“Incremental creep of wickedness” — BBC Music
“A songwriter of beguiling depth” — The Sunday Times
“A series of shiveringly atmospheric compositions” — Q
“Painfully young and unnervingly talented” — The Economist
“A precociously talented multi-instrumentalist” — The Independent

——

LOCH LOMOND (USA/Chemikal Underground)

Loch Lomond is the Portland Oregon-based chamber pop/folk group which began as a solo project of Ritchie Young in 2003 with their debut release ‘When We Were Mountains’. While Broderick has joined the band numerous times (drums, violin, mandolin, vocals), Loch Lomond have released three further albums to date: ‘Paper The Walls’ in 2007; ‘Little Me Will Start A Storm’ in 2011 and current full-length ‘Dresses’ in 2013. Loch Lomond are currently signed to the prestigious Glasgow-based independent label Chemikal Underground (The Phantom Band, Adrian Crowley, Aidan Moffat).

Press:

“Vaguely surreal, harmonic and orchestral”
—The List

“Evokes the articulation of emotion synthesized sweetly, euphonically, gracefuly… perfectly”
—Drowned in Sound

“Very much the work of a band playing off each other’s strengths… a quiet triumph”
—The Line of Best Fit

Links:

https://www.facebook.com/lochlomondmusic
http://www.chemikal.co.uk/artists/loch-lomond/

 


 

Fractured Air presents
Peter Broderick (plus band) w/ special guests Loch Lomond
Half Moon Theatre, Cork on Sunday 19 October 2014

Tickets are €15, available now from Cork Opera House box office, Emmet Place, Cork.

PURCHASE TICKETS HERE:
http://www.corkoperahouse.ie/events/peter-broderick-plus-band

 


 

Peter Broderick: Album by Album

The following is a selection of some of our favorite albums from Peter Broderick’s recorded output to date:

greggivespeterspace_web

Greg Gives Peter Space ‘Greg Gives Peter Space’ (Erased Tapes, 2014)

Greg Gives Peter Space is the long-awaited first collaborative work with Peter Broderick and Greg Haines, which was released last June (via download and vinyl release) on the ever-illuminating independent label, Erased Tapes. Inspired by the pair’s obsession with dub music, the gifted multi-instrumentalists create sublime soundscapes, derived from rhythmically driven tracks, evoking the spirit of Lee ‘Scratch’ Perry, King Tubby and Augustus Pablo. On the utterly transcendent track, ‘The Drive’, Broderick asks “Are you ready for this?” — Greg Gives Peter Space unfolds layers of stunningly beautiful violin passages, ethereal sounds from tape-worn synthesizers, celestial harmonies and a hypnotic bassline. Welcome to the ever-expanding and shape shifting sounds of this incredibly exciting new collaboration.

Last month Greg Haines compiled a Dub-inspired mixtape for us, LISTEN HERE.

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corollaries_web

Lubomyr Melnyk ‘Corollaries’ (Erased Tapes, 2013)

‘Corollaries’ occurred in a sense, by accident. Ukrainian pianist and composer, Lubomyr Melnyk met Peter Broderick and Nils Frahm in Cologne, Germany at an ambient music festival during 2012. It was destiny that these special souls would cross paths and soon, light was shone on a dream collaboration. This project was given a name — ‘Corollaries’ — and represents a truly beautiful moment in contemporary music. As ever, the Erased Tapes label is responsible for a truly innovative and imaginative work of art. The five pieces of music contained in ‘Corollaries’ is steeped in unerring beauty and human emotion. ‘Corollaries’ was recorded and produced by Peter Broderick with the additional help of Nils Frahm and Martyn Heyne.

Last year we spoke with Lubomyr Melnyk about the making of ‘Corollaries’, READ INTERVIEW HERE.

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FLOAT_CD_Cover_print.indd

‘Float 2013’ (Erased Tapes, 2013)

Re-issue of Peter Broderick’s 2008 debut solo album ‘Float’ (originally released on John Twells’ Type imprint), remastered by Nils Frahm in his Berlin-based Durton Studio. The resultant ten tracks are lovingly re-mastered by Frahm to re-create the album Broderick had initially released five years previously, in 2008. A timeless treasure of modern-classical compositions, ‘Float’ showcases the gifted talents of the American composer, containing immaculate instrumentation of piano, violin, cello, banjo, guitar, and vocals. In the words of Peter Broderick: “In so many ways I’ve found myself coming around the circle, back to the place I started, only perhaps the circle itself has moved. But the dream is the same. And my little baby has a new pair of shoes: Float 2013.”

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WallsCD_Cover.indd

‘These Walls Of Mine’ (Erased Tapes, 2012)

A collection of ten vocal and lyrical experiments, ‘These Walls Of Mine’ effortlessly combines electronica, folk, gospel, soul, hip hop and classical music. The innovative body of work features some of Broderick’s most cherished recordings, from the gorgeous country lament ‘Freyr!’, the ‘Spirit Of Eden’ era ‘I’ve Tried’ to the transcendent title-track, which is introduced as “some words on a page with an intention of recording an audio interpretation of these words”. As ever, Broderick’s artistry is in full-bloom where the influences of such pioneering artists as Arthur Russell and Talk Talk are in evidence through Broderick’s singular artistic vision and unwillingness to rest on his laurels.

In 2012 we spoke with Peter Broderick about the making of ‘These Walls Of Mine’, READ INTERVIEW HERE.

————

musicforfallingfromtrees_web

‘Music For Falling From Trees’ (Erased Tapes, 2009)

‘Music For Falling From Trees’ is a 30-minute piece, in seven sections, created for a contemporary dance by London-based choreographer Adrienne Hart. As Broderick recounts (from the album’s liner notes): “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.”

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home_web

‘Home’ (Bella Union, 2008)

Released in 2008, shortly after ‘Float’, Broderick’s Bella Union debut is rooted in cinematic folk terrain, as stunningly beautiful soundscapes of fragile guitar notes and celestial harmonies awakens your senses. ‘Home’ feels just that, familiar, warm and intimate. An album as special as they come, one which has become a close companion for the past half-decade or so that continues to reveal new meaning and significance.

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Oliveray_ERATP033LP_Print_ZW.indd

Oliveray ‘Wonders’ (Erased Tapes, 2011)

This gem was put out a few years back by Berlin-based label Erased Tapes and continues to reveal more with every single listen. A stunning collaboration between longtime friends Nils Frahm and Peter Broderick (Olive and Ray are the authors’ middle names) includes two incredible covers — of Tiny Vipers (‘Dreamer’) and Efterklang (‘Harmonics’) — while the album’s six other original compositions confirm both Frahm and Broderick as two of the most wonderfully exciting artists making music today.

 


 

Fractured Air presents
Peter Broderick (plus band) w/ special guests Loch Lomond
Half Moon Theatre, Cork on Sunday 19 October 2014

Tickets are €15, available now from Cork Opera House box office, Emmet Place, Cork.

PURCHASE TICKETS HERE:
http://www.corkoperahouse.ie/events/peter-broderick-plus-band

——

http://www.peterbroderick.net/
http://www.erasedtapes.com/
http://bellaunion.com/

 


 

Written by admin

July 28, 2014 at 5:33 pm

Mixtape: I Found A Reason [A Fractured Air Mix]

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ifoundareason_front

I Found A Reason [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-found-a-reason-a-fractured-air-mix/

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Tracklisting:

01. Leonard Bernstein & New York Philharmonic ‘The Young Person’s Guide to the Orchestra, Op. 34: Themes a-F’ [‘Moonrise Kingdom’ OST]
02. Sufjan Stevens ‘Jacksonville’ [Asthmatic Kitty]
03. Lewis ‘My Whole Life’ [Light In The Attic]
04. Slowdive ‘The Sadman’ [SBK]
05. Julia Holter ‘Don’t Make Me Over’ [Domino]
06. Owen Pallett ‘On A Path’ [Domino]
07. Jack Nitzsche ‘I’m The Loneliest Fool’ [Ace]
08. Randy Newman ‘Sandman’s Coming’ [Nonesuch]
09. Calexico ‘Departure in F minor’ [Our Soil, Our Strength]
10. Cat Power ‘I Found A Reason’ [Matador]
11. Bob Dylan ‘Not Dark Yet’ [Columbia]
12. The Teddy Bears ‘To Know Him Is To Love Him’ [ABKCO]
13. The Tornados ‘Telstar’ [Decca]
14. Françoise Hardy ‘Le Temps De L’amour’ [Moonrise Kingdom’ OST]
15. Agnes Obel ‘The Curse’ [PIAS]
16. Georges Delerue ‘Ouverture’ [Emarcy, Universal]
17. Leonard Bernstein & New York Philharmonic ‘The Young Person’s Guide to the Orchestra, Op. 34: Fugue. Allegro molto’ [‘Moonrise Kingdom’ OST]

————

The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

————

Fractured Air. The universe is making music all the time.

Mixcloud / Soundcloud

————

 

Ten Mile Stereo

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goat_commune

GOAT ‘Commune’ (Sub Pop)
“Music is everything. The biggest secret of humanity,” as said by GOAT’s leader Mr. Stonegoat. ‘Commune’ is the hugely anticipated follow-up to reclusive Sweden psychedelic maestros masterful and otherworldly debut album ‘World Music’, released in 2012 via Rocket Recordings. Originally from Korpilombolo, Northern Sweden, GOAT have been self-described as a musical tradition as opposed to a band in the classic sense. The band fuse psychedelia, Nigerian afro beat, funk and soul to disco, rock, garage, blues and German krautrock to soul-stirring effect. GOAT’s second LP ‘Commune’ will be released by Seattle-based independent label Sub Pop this Autumn.

‘Commune’ will be available on 23 September via Sub Pop.

www.facebook.com/goatsweden
www.subpop.com/artists/goat

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craftspells

Craft Spells ‘Nausea’ (Captured Tracks)
Released earlier this Summer, ‘Nausea’ is the wonderful second full-length by Craft Spells’ Justin Vallesteros. Preceded by lead single ‘Breaking The Angle Against The Tide’, ‘Nausea’ is the follow-up to 2010’s debut LP ‘Idle Labor’ and 2012’s subsequent ‘Gallery’ EP. Crucially, the album stems from a bout of writer’s block for Vallesteros; who subsequently put down the guitar for a year while studying the piano which provides the basis for all the tracks on ‘Nausea’. Released on the ever-formidable Brooklyn independent label Captured Tracks (DIIV, Mac Demarco, The Soft Moon), ‘Nausea’ confirm Craft Spells as a hugely exciting and promising artist for the present and the future alike.

‘Nausea’ is available now on Captured Tracks.

http://www.craftspells.com
http://www.capturedtracks.com

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thebluebells_exileontweestreet

The Bluebells ‘Exile On Twee Street’ (Cherry Red)
The Scottish independent music scene has always been one of the richest sources for innovative, timeless and endearing indie/pop music. The likes of Camera Obscura, Teenage Fanclub and The Pastels have consistently made the kind of perfectly crafted and yet highly individual strand of pop music during the nineties and noughties, while before them, the early 1980s was a golden age for Scottish pop, with such bands as The Bluebells, Orange Juice, Altered Images and Lloyd Cole & The Commotions all making their own beautiful indelible on the music scene of both Scotland and the world. ‘Exile On Twee Street’ is a particular treasure (to be released by London’s Cherry Red at the end of the month) as the vast majority of this twenty-track compilation (with the exception of ‘Happy Birthday’) has yet to see a release previously.

‘Exile On Twee Street’ will be available on July 28 on Cherry Red Records.

https://www.facebook.com/bluebellsofficial
http://www.cherryred.co.uk/

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jamesblackshaw

James Blackshaw ‘Fantomas: Le Faux Magistrat’ (Tompkins Square)
The genesis for this special release by Hastings-based English guitarist and pianist James Blackshaw stemmed from a personal invitation by renowned French composer Yann Tiersen to partake in a special centenary celebration of Louis Feuillade’s Fantômas silent film series at the Théâtre de Châtelet, Paris on October 31st 2013. On the night Blackshaw performed an original score for the fifth and final film in the series, ‘Le Faux Magistrat’. Blackshaw is joined for his set by Duane Pitre and Simon Scott (Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano; Charlotte Glasson contributes violin, vibraphone and several wind instruments to the truly stunning 75-minute score.

‘Fantomas : Le Faux Magistrat’ is available now on Tompkins Square.

http://www.jamesblackshaw.com
http://www.tompkinssquare.com

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ATOZ_12in_TIPON

Steve Gunn ‘Way Out Weather’ (Paradise Of Bachelors)
The last few years have been remarkably productive for the Brooklyn-based guitarist and songwriter Steve Gunn (Gunn-Truscinski Duo, Kurt Vile’s The Violators). Only this summer, RVNG Intl issued the splendid ‘Cantos de Lisboa’ as part of their ongoing FRKWYS series (where contemporary artists are paired with their influential predecessors), where Gunn performs alongside the inspirational British folk legend Mike Cooper in Lisbon, Portugal. Last year saw Gunn release his timeless classic ‘Time Off’ album, showcasing not only Gunn’s mastery and versatility as a highly distinctive guitarist but also a hugely talented songwriter and lyricist. ‘Way Out Weather’ expands significantly on Gunn’s previously recorded output; most notably where a newfound lush and panoramic wall of sound is created by a gifted artist (and band) in gloriously full stride.

‘Way Out Weather’ will be available on 7 October via Paradise Of Bachelors.

http://steve-gunn.com
http://www.paradiseofbachelors.com

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thechills_moltengold

The Chills ‘Molten Gold’ (Fire Records)
Originally formed in 1980 in Dunedin, New Zealand, The Chills are today regarded as one of the country’s most legendary of bands. Fronted by Martin Phillipps, the band lineup would change over the course of the following decades; the band would enjoy significant critical acclaim early on releasing a string of classic records via the legendary NZ label Flying Nun (‘Kaleidoscope World’, ‘Brave Words’). The band later re-located to London (while subsequently the band signed to Warner’s subsidiary label Slash in ’88) before returning to their homeland of NZ as national treasures. With the announcement that US indie label Fire Records have partnered with The Chills and their label Far South, expect a treasure chest to be unleashed in the coming months and years.

‘Molten Gold’ EP available 28th July on Fire Records.

https://www.facebook.com/thechills
http://www.firerecords.com

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kolsch_speicher79

Kölsch ‘Papageno/Cassiopeia’ (Kompakt)
As part of the indispensable SPEICHER record series by revered Cologne-based independent label Kompakt, installment number 79 welcomes back the peerless producer and electronic artist Kölsch, whose most recent full-length, the monumental ‘1977’, has been hailed as one of the most defining modern electronic records. For SPEICHER 79, Kölsch has created a two-track gem with side A’s ‘Papageno’ (featuring Nikolaj Manuel Vorsild of When Saints go Machine on vocals) and the heavenly ‘Cassiopeia’ on the flip-side (where Kölsch is joined by classical composer Gregor Schwellenbach).

‘Papageno/Cassiopeia’ is available now from Beatport HERE.

https://www.facebook.com/kolschofficial
http://www.kompakt.fm

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deafcentre_sonicpieces

Deaf Center ‘Recount’ (Sonic Pieces)
This August marks the long-awaited and much-anticipated return of beloved Norwegian duo Deaf Center (comprising the hugely acclaimed duo of school friends Erik Skodvin and Otto Totland). Three years on from their landmark LP ‘Owl Splinters’, a darkly textured, ambient modern masterpiece; ‘Recount’ comes at a time when both Skodvin and Totland have been immersed in numerous side projects of their own (including Totland’s debut solo full-length and Erik K. Skodvin’s stunning 2014 LP ‘Flame’, the follow-up to 2010’s ‘Flare’). ‘Recount’ features two  longform pieces recorded in 2008 and 2012.

‘Recount’ will be issued by Sonic Pieces on 29 August.

http://www.facebook.com/pages/Deaf-Center
http://www.sonicpieces.com

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Broken Twin_sleeve

Broken Twin ‘May’ (Anti-)
Broken Twin’s ‘May’ is one of 2014’s most intimately personal and utterly timeless albums by Danish songwriter Majke Voss Romme. ‘May’ is the gorgeous first full-length LP by Romme, who has previously released last year’s ‘Hold On To Nothing’ and ‘Sun Has Gone’ EP’s. An innate ability for song craft combine with constantly gripping, beautifully open-ended lyricism which quietly yields truly moving songs in the process. As Romme has said: “I wanted to get back to basics, seeking a sound that was warm and lo-fi; minimal and spacious and focused on the songs”.

‘May’ is available now on Anti-.

http://brokentwin.com
http://www.anti.com

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maxrichter_retrospective

Max Richter ‘Retrospective’  & ‘Recomposed’ (Deutsche Grammophon)
This summer Deutsche Grammophon issued the 4-cd box set comprising German neoclassical composer Max Richter’s albums ‘The Blue Notebooks’ (2004); ‘Songs from Before’ (2006); ‘24 Postcards in Full Colour’ (2008) and ‘Infra’ (2010). Only this year, the ever-prolific Richter released his spectacular re-interpretation of Antonio Vivaldi’s ‘The Four Seasons’; simply entitled ‘Recomposed’, Deutsche Grammophon’s wonderful package also includes a host of remixes and a stunning live concert from Berlin as a bonus DVD.

Both ‘Retrospective’ and ‘Recomposed’ are available now on Deutsche Grammophon.

http://www.maxrichtermusic.com
http://www.deutschegrammophon.com

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Written by admin

July 18, 2014 at 3:40 pm

Chosen One: Dean Wareham

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Interview with Dean Wareham.

“Writing a song is a long road. Or it can be.”

—Dean Wareham

Words: Mark Carry, Photographs: Dean Wareham

Image 1

Last Spring marked the long-awaited release of the legendary Galaxie 500/Luna frontman, Dean Wareham’s solo debut full-length on the London-based independent label, Sonic Cathedral. The self-titled album showcases Wareham’s immaculate song-craft and peerless musicianship; traits we have come to know (and cherish) from the American musician’s storied career (from the reverb-drenched, indie-rock gems of Galaxie 500 to Luna’s utterly transcendent dream-pop opuses). Following on from last year’s beguiling solo mini-album, ‘Emancipated Hearts’, a marked immediacy and directness is inherent in Wareham’s songbook as a rejuvenated spirit burns brightly across the debut album’s rich sonic canvas.

The debut record was produced by Jim James of My Morning Jacket at his home studios in Louisville, Kentucky. “I bought My Morning Jacket’s first album, ‘The Tennessee Fire’ back in 1999 and loved it,” recounts Wareham, “perhaps on account of the generous amounts of reverb on his voice, or the fact that he would belt things out loud and high”. The recording sessions comprised the formidable line-up of Britta Phillips on bass and Anthony LaMarca on drums. Album opener ‘The Dancer Disappears’ contains Wareham’s pristine baritone washed across a sky of sun-blissed guitar tones and an infectious groove. A vivid sense of nostalgia, memory and new beginnings unfolds before your very eyes (and ears) as an illuminating new chapter is forged in Wareham’s sacred songbook. A crystalline pop gem is masterfully crafted (sharing the glorious shades of Phil Spector and Jim James’ own solo material), which is inter-woven with Wareham’s poignant lyrics: “Now that we’re here / I’m ready to leave / The whole wide world behind.” An undying spark of optimism flickers like rays of sunlight, perhaps reflected on the album’s stunning front-cover artwork, which was beautifully designed by Sharon Lock (whose work similarly adorns the sleeve of label-mate, Cheval Sombre’s ‘Mad Love’ record). A few moments later, Wareham sings “Bring back the magic and light the match / There is a train that I’m hoping to catch” that brings to mind Tindersticks’ frontman Stuart A. Stalples’ solo album ‘Leaving Songs’ and particularly the Lhasa de Sela duet, ‘That Leaving Feeling’.

The fulfilling journey continues on ‘Beat The Devil’ as Wareham sings on the opening verse, “Take the high road to the sea / On the lost coast is where we’ll be” that recalls the tender ballads of ‘Deserter Songs’ era Mercury Rev, Daniel Johnston and Sparklehorse; while lyrically the spirit of The Byrds song — and Dylan-penned — ‘Ballad Of Easy Rider’ comes to mind. The song’s closing guitar interlude serves the perfect prelude to what follows, namely the only cover version on the album, ‘Heartless People’, written by Michael Holland. A song of immense power and emotional depth seeps into your consciousness. Sonically, a gorgeous ebb and flow of warm percussion and clean guitar tones flows effortlessly beneath Wareham’s endearing voice. A love song filled with pain, loss, longing and regret is created as a seamless array of poetic prose makes its swift dance to the forefront of one’s heart and mind: “But you / You and I / Hate to see a flower die / Somebody tell me / Which way the power lies”. An achingly beautiful lapsteel appears on a later verse as a darkness permeates the headspace: “No one ever really knew/The trouble in my heart / She had a way with me / Right from the very start”. ‘Heartless People’ could belong on Bonnie ‘Prince’ Billy’s ‘I See A Darkness’ or any of Johnny Cash’s ‘American Recordings’ such is the deeply affecting ballad’s brilliance.

‘My Eyes Are Blue’ beautifully depicts a father’s everlasting love for his son. A sublime country pop gem radiates throughout with Wareham’s pristine vocal delivery providing the song’s glimmering spark: “I don’t know my eyes are blue / I only know they’re following you”. The perfect pop song contains gorgeous backing harmonies and soaring guitar licks, that in turn, creates something of a symphony. A song of love and rejoice is wonderfully brought into full-focus as Wareham asks: “But how can we lose when we already won?” ‘Love Is Not A Roof Against The Rain’ conjures up the timeless sound of Gram Parsons (particularly, ‘Love Hurts’) as an intimacy descends upon the listener. The sparse folk song is a tour-de-force in songwriting, revealed in a later verse: “I can hold the midnight in my hand / Spoken like a singer in a band / Everyone remembers what they want / Stories told to give their life a font”. An honesty and directness prevails as a torn heart is laid bare, particularly on the chorus refrain as Wareham asks: “What have I done with my life”.

Part B evolves into psychedelic guitar-based pop gems, from the hypnotic groove of ‘Holding Pattern’ to the Velvets-esque ‘Babes In The Wood’. The latter transforms into an uplifting psych haze as the chorus refrain of “Take care of the babes in the wood” shares glorious shades of Galaxie 500. The star of Wareham continues to rise but this well-known fact has been written in stone ever since the turn of the 90’s, of course.

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‘Dean Wareham’ is available now on Sonic Cathedral (Europe) and Double Feature (USA).

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http://deanwareham.com
http://www.soniccathedral.co.uk

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Interview with Dean Wareham.

Congratulations Dean on your utterly beautiful new solo album. I love the immediacy and directness of these songs and indeed, the gorgeous flow of music throughout. Can you please take me back to the recording sessions with Jim James and what the experience was like recording in his Kentucky home studio? 

Dean Wareham: Thank you Mark. Let’s turn back the clock to the summer of 2012. Jim James invited me to play a summer festival that he was curating in Louisville; I played a set of Galaxie 500 songs. After the festival, my band (my wife Britta on bass, Anthony LaMarca on drums, and me) retired to Jim’s house in the suburbs of Louisville. It’s a home studio but frankly it had nicer equipment than a lot of studios I’ve recorded in. We set up the drums in the living room, vocal microphone in Jim’s den, and guitar amps in the garage. We spent two days, walked out of there with four songs, including “The Dancer Disappears,” “Heartless People” and “Babes in the Wood” and decided right away that we would come back in December and finish a whole record.

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I was interested to read that ‘The Dancer Disappears’ and the Michael Holland cover ‘Heartless People’ were some of the first songs recorded for the album. I feel both those songs really shape the album. I love the beautiful arrangements of ‘The Dancer Disappears’ and lyrics such as “Now that we’re here / I’m ready to leave the whole wide world behind” evokes a vivid sense of journey that marks a new chapter. Can you talk me through ‘The Dancer Disappears’ please, Dean? 

DW: I will try. It’s really two different processes — the music and the lyrics I mean — working separately and then hopefully working together. Often a song starts as someone else’s song; in this case I was strumming Glen Campbell’s “Mary in the Morning” and then we started playing around with those chords but set to a disco beat. When we got into the studio Jim James had a different idea for the drums; he set up a heavy slapback delay and that forced our drummer Anthony to change what he was doing. Lyrically I wanted to write about a last hurrah, the idea that as you get older you will have one last big party and then leave it all behind. And also during this time I was aware that I was about to leave New York City after thirty years and move to the west coast, which I certainly had mixed feelings about.

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The cover song ‘Heartless People’ fits so perfectly alongside your own songs. Can you shed some light on this song please and its inclusion on the album? It’s such a gorgeous, tender song with deeply affecting song-writing. Thank you for introducing me to the music of Michael Holland.

DW: Yeah, this is the second Michael Holland song I have recorded. Michael and his identical-twin brother Mark were in a band called Jennyanykind in the 1990s, and I like that band but I like their side projects even more; Mark Holland recorded a few albums as Jule Brown (and I worked with him on those) and Michael Holland made a really great bluegrass album called “Tomorrow’s American Treasures”. I don’t even like bluegrass much but really loved the album he made. But back to your question, Michael sent me a home demo of this unreleased song he wrote — “Heartless People” — and I have been waiting to record it for a couple of years. It is a devastating song — the one lyric “You can hope for the best / But what is written in stone?” gets me every time I sing it. I think back to how we recorded that one, and to tell you the truth we almost gave up on it while we were rehearsing — it just wasn’t working. But Jim James set up this great vintage ribbon microphone into a plate reverb and all of a sudden my vocal sounded really silky, and so did Britta’s bass, and Britta and Anthony played a really fantastic rhythm track and then Jim James added a strange jazzy guitar lick and Anthony the pedal steel, and it all happened so quickly.

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The stunning front-cover is beautifully designed by Sharon Lock, whose work I first came across through Cheval Sombre’s ‘Mad Love’ album, released on Sonic Cathedral a couple of years ago. The artwork is a perfect embodiment of the uplifting music contained on the record. 

DW: It is just possible that the artwork is better than the album. And I am not dissatisfied with the album — it’s just that the LP cover is, as you say, stunning. It is glowing, effulgent, colorful, mysterious. Mind you, I haven’t yet seen it with the yellow translucent vinyl, the UK vinyl is out but we had a problem here.

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I love that sense of musicianship and joy of playing that is clearly present on these special recordings. I would love to gain an insight into the writing process of your songs? Is it a case that you have the songs written beforehand and then bringing them to the table, so to speak? Your trusted ensemble of Britta Phillips (bass) and Anthony La Marca (drums) and Jim James have such a deep understanding of the music, it’s lovely to witness while listening to the record.

DW: I don’t generally bring finished songs to the table; I bring ideas, chords, riffs and then we sit down (we in this case being Anthony and Britta) and try them different ways and do this for a couple of months. And then when the recording session is booked the panic sets in and I realize I had better write the lyrics or else I will look like a fool standing there with nothing to sing. This time I was a little bit lucky because my voice completely gave out during our December sessions, which gave me an extra couple of weeks to finish the words.

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Were there particular production techniques used by Jim James on these recording sessions that set them apart from previous releases? It’s cool too to think that clearly, the music of My Morning Jacket owes a lot to the unique reverb-filled sonic creations of Galaxie 500. It’s a wonderful combination that works so well.

DW: This record sounds very different to last year’s “Emancipated Hearts” EP, which was produced by Jason Quever of Papercuts. That one was a wall of sound. This LP is more hi-fi. Jim James has made some really massive sounding records, and he does not shy away from bold statements. That is perhaps what is different here — he pushed me out of my comfort zone at times. I tend to keep things pretty restrained (not always, but that is my default), while he goes for it. That was a good dynamic on this album.

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‘My Eyes Are Blue’ is another truly captivating song. I love the intricate arrangements of sun-blissed harmonies, clean guitar tones, and enlightening feel. I really do get a sense that the songs are just pouring from you and it’s all so effortless. How has your song-writing changed over the course of your career across the various incarnations?

DW: Good that it sounds that way, but I promise you it is not effortless. Writing a song is a long road. Or it can be. Some things come quickly (for example, “Happy & Free”). But “My Eyes Are Blue” was very different in demo form. When we started playing it for Jim, he immediately suggested that we start with the chorus instead of the verse, a clever idea, and I’m not sure why I’ve never done that before. And then all kinds of pretty things were added; pedal steel, Jim’s beautiful backing vocals, and an nylon-acoustic guitar solo that I played straight into my computer over the Christmas holidays. Lyrically I had about three pages of potential verses; ideas pulled from here and there. One review suggested that I was singing this one to Britta but in truth I wrote it for my 12-year-old son. Perhaps this is too much information, I know it’s not very rock and roll to write a song for your kid. And yet there are some good songs in that vein — “Kooks” by David Bowie comes to mind.

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Are there certain records you feel proved influential in making this solo record, Dean? 

DW: Particular songs have their influences. So I know that certain songs take initial inspiration from other songs by Glen Campbell, Kaleidoscope, the Seekers, the Bee Gees, Brian Jones-era Rolling Stones, and Donovan. That can be how a song gets its start — but the final result doesn’t sound remotely like any of those artists, because sonically you start heading in different directions. Instead it sounds more like Dean Wareham as produced by Jim James.

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Lastly, my current favourite is the sparse ballad “Love Is Not A Roof Against The Rain”. A song of redemption that possesses such power and intensity. “What have I done with my life” resonates so powerfully. I would for you to discuss your memories of writing this song, and indeed the title of the song itself?

DW: “Love is not a roof against the rain” is a line from a poem by Edna St. Vincent Millay (an American poet who was wildly popular in the 1920s) titled “Love is Not All.” Lately I’ve used this trick of taking one line from someone else’s poem and then writing my own song around it, so that’s what I did here. Her poem, about the power of love, starts:

Love is not all: it is not meat nor drink
Nor slumber nor a roof against the rain;

She concludes that love may not be food or drink but she wouldn’t trade the memory of love (“the memory of this night” she writes) for anything else.

And again, this song was very spare indeed till we got into the studio, and we kept the first two verses that way but then Jim suggested it should explode at the end in a supernova of pedal steel and synthesizers. It is fun to play live.

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‘Dean Wareham’ is available now on Sonic Cathedral (Europe) and Double Feature (USA).

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http://deanwareham.com
http://www.soniccathedral.co.uk

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Written by admin

July 17, 2014 at 7:20 pm

Fractured Air 20: Contemporary Classical Composers (A Mixtape by Carlos Cipa)

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The Munich, Germany-based pianist and composer Carlos Cipa has released two records to date: the stunning debut solo full-length LP ‘The Monarch And The Viceroy’ (2012, Denovali Records) and ‘Relive’ (2014, Denovali Records), an EP recorded in collaboration with partner Sophia Jani. ‘Relive’ contain the side-length tracks ‘Anouk’s Dream’ and ‘Whatever A Sun Will Always Sing’; both written specially for the pair’s performance at the Denovali Swingfest 2013 in Essen. The resultant compositions were played exactly as in the live situation with no electronic manipulation. Both classical and modern artists provide inspiration for Cipa’s work as a composer: Cipa has cited the great composers such as Mozart, Debussy, Ravel, Stravinsky; while the works of modern bands such as The National, Mogwai, Sigur Rós and Nick Cave have also influenced Cipa’s outlook as an artist.

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“Contemporary Classical Composers”

To listen on Mixcloud:
http://www.mixcloud.com/Fractured_Air/fractured-air-20-contemporary-classical-composers-a-mixtape-by-carlos-cipa/

“This is a compilation of some of my favourite pieces of 20th century classical composers. It’s always hard to fit classical music into a mixtape, especially to separate pieces/movements out of their context. I tried my best, but most of the pieces are part of a greater work, so I encourage you to listen to the complete opus and enjoy it as a whole.”

—Carlos Cipa

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Tracklisting:

01. Igor Stravinsky – Symphony in 3 Movements, I. Allegro (9:41)
02. Steve Reich – Double Sextet, III. Fast (6:43)
03. Maurice Ravel – String Quartet in F Major, I. Moderato, très doux (7:38)
04. Charles Ives – The Unanswered Question (4:35)
05. Erkki-Sven Tüür – Insula Deserta (9:10)
06. Nico Muhly – Revd Mustard his Installation Prelude (3:35)
07. David Lang – The Little Match Girl Passion, I. Come, Daughter (3:41)
08. Olivier Messiaen – Oraison (7:45)
09. György Ligeti – Nonsense Madrigals, III. The Alphabet (3:33)
10. Krzysztof Penderecki – Chaconne (6:47)
11. Dmitri Shostakovich – String Quartet No. 8, II. Allegro Molto (2:38)
12. George Crumb – Black Angels, I. Departure (5:37)
13. Hans Otte – Das Buch der Klänge, Part X (5:57)
14. Thomas Adès – Arcadiana, op. 12, VI. O Albion (3:07)
15. John Adams – Hallelujah Junction, Part I (7:14)
16. Claude Vivier – Zipangu (14:06)
17. György Kurtag – Stele, op. 33, III. Molto sostenuto (05:55)

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Notes on selection by Carlos Cipa:

01. Igor Stravinsky – Symphony in 3 Movements, I. Allegro (9:41)
He is the master. The sense for rhythm and pulse is just incredible. He was one of the most innovative voices of all time. You can learn so much from Stravinsky, regardless what music you create.

02. Steve Reich – Double Sextet, III. Fast (6:43)
You don’t need to say something about Steve Reich. Definitely one of the most influential composers of the second part of the 20th century. This piece is a rather new one, that won him the Pulitzer prize. The whole piece is amazing!

03. Maurice Ravel – String Quartet in F Major, I. Moderato, très doux (7:38)
One of the most beautiful pieces ever written. I deeply love string quartet as instrumentation, it will never sound antique, always timeless. And Ravel’s String Quartet is one of the best.

04. Charles Ives – The Unanswered Question (4:35)
A classic piece. But still, Ives is an underrated composer; what he thought of and did in his music was always much more experimental and much more modern than a lot of his contemporaries. This piece is from 1908!!! True beauty and innovation.

05. Erkki-Sven Tüür – Insula Deserta (9:10)
Written in 1989, this is one of the most interesting pieces of the last twenty-odd years. Tüür has an incredible unique voice, that always touches me deeply.

06. Nico Muhly – Revd Mustard his Installation Prelude (3:35)
Fantastically played on the album ‘Cycles’ by James McVinnie, this is an amazingly beautiful piece. And the sound and the colour of this instrument is incredible.

07. David Lang – The Little Match Girl Passion, I. Come, Daughter (3:41)
David Lang is a master in terms of voices and singing. It’s very encouraging to write for voice, when you listen to his beautiful music.

08. Olivier Messiaen – Oraison (7:45)
The beautiful sound of this instrument (Ondes Martenot), such a beautiful piece of music.

09. György Ligeti – Nonsense Madrigals, III. The Alphabet (3:33)
His output is so versatile, so colourful, and regardless what he touches, he creates something unique, something new, but always in the most musical sense. That’s a very rare gift in contemporary classical music.

10. Krzysztof Penderecki – Chaconne (6:47)
Last year he was in Munich for a concert with our chamber orchestra and they played this and a lot of other beautiful pieces he wrote in the last 15 years. Before the concert he was being interviewed by the conductor and just told funny stories about his work. Very inspiring and friendly person.

11. Dmitri Shostakovich – String Quartet No. 8, II. Allegro Molto (2:38)
Probably, his most famous piece, but the energy in this music is unmatched. This is only four instruments, but you feel a group of a hundred running over you. Very hard to get this movement out of it’s context, all the movements are fantastic.

12. George Crumb – Black Angels, I. Departure (5:37)
You have to look at his scores. Everything is written by hand, he was a master of calligraphy and to see the relation between notation and how it sounds is just amazing.

13. Hans Otte – Das Buch der Klänge, Part X (5:57)
Rather unknown German composer, one of the few who were inspired by american minimal composers and made a beautiful piano cycle called “Das Buch der Klänge”.

14. Thomas Adès – Arcadiana, op. 12, VI. O Albion (3:07)
And again a String Quartet, this is very unusual for Adès, but I believe it’s the most beautiful 3 minutes he ever wrote.

15. John Adams – Hallelujah Junction, Part I (7:14)
A minimal classic. I recently saw this piece performed live, and it was really an amazing experience.

16. Claude Vivier – Zipangu (14:06)
I had to include this piece, despite its length, it’s just too beautiful. String Orchestra is another beautiful instrumentation, and Vivier is an underrated master when it comes to it.

17. György Kurtag – Stele, op. 33, III. Molto sostenuto (05:55)
This might be the piece that impressed me the most lately. The use of the orchestra is incredible, (it has 12 double basses!!). Kurtag is a master in saying so much in such a short time. Impressive. It’s hard to separate the movements, go check out the whole piece, it’s incredible!

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‘The Monarch And The Viceroy’ LP and ‘Relive’ EP are available now on Denovali.

http://www.carloscipa.com/
http://denovali.com/

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Interview with Carlos Cipa HERE.
To follow Fractured Air you can do so on Facebook HERE, & Twitter HERE.

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Written by admin

July 14, 2014 at 2:34 pm

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