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Posts Tagged ‘Efterklang

Road Atlas: Peter Broderick (Part 8)

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Part 8 (and day 17) of our Road Atlas series with Peter Broderick. “(Colours Of The Night) Satellite” is the brand new EP from Peter Broderick, available now via Bella Union.  

Words & Photograph: Peter Broderick


First things first . . . the concert in Cork tonight has been postponed! Due to weather conditions, our ferry from the UK to Ireland was cancelled. We’re still hoping to make it to Dublin tomorrow, but unfortunately we won’t be in Cork tonight. I really hope we’ll find a date for rescheduling very soon! In the meantime, we had an amazing show in Manchester last night, and we’re now staying at my friend Bernie’s house. Bernie has been hosting bands that play in Manchester for many many years. My first time staying at her house must have been in 2007 or 2008, with Efterklang. . . . and ever since we’ve become good friends, and I’ve stayed in this house at least 5 or 6 times. Nils Frahm and I even recorded a song in Bernie’s basement once! A cover version of the song “Belle” by Taxi Taxi. As sad as I am that the concert in Cork tonight has been cancelled, we are very much appreciating a day off to rest, and I couldn’t have picked a better place to do that. Here is Bernie’s amazing cat, Sootie, sitting on the kitchen table. Awwwwww.

—Peter Broderick


Peter Broderick’s European tour dates are as follows:

20 Oct   Dublin / The Workman’s Club / Ireland
21 Oct   Reading / The Bowery District / United Kingdom
22 Oct   London / Bush Hall / United Kingdom
23 Oct   Gent / Charlatan / Belgium
24 Oct   Middelburg / De Spot / Netherlands
25 Oct   Zwolle / Let’s Get Lost / Netherlands
26 Oct   Utrecht / Ekko / Netherlands
27 Oct   Berlin / Roter Salon / Germany
29 Oct   Luzern / B-Sides Indoor Festival / Switzerland
31 Oct   Soliera / Cinema Teatro Italia / Italy

*05 Nov   Cork / Half Moon Theatre / Ireland (rescheduled show/Solo performance)*




“(Colours Of The Night) Satellite” is available now via Bella Union.



Written by markcarry

October 20, 2014 at 11:53 am

Mixtape: For Peter (A Mixtape by Fractured Air)

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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:



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.



For full European tour dates please visit:



Written by admin

July 29, 2014 at 3:17 pm

Chosen One: Efterklang

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Interview with Rasmus Stolberg, Efterklang.

Saturday 15th September 2012. Cork Opera House. The special premiere of Danish band Efterklang’s newest masterwork, ‘Piramida’. A night of true inspiration and divine art. A truly unique musical experience. The trio of Casper Clausen, Rasmus Stolberg and Mads Brauer were joined by the 23-piece orchestra, The Major Lift Orchestra which was conducted by Mathew Coorey. The familiar members of the Efterklang family tree were present, most notably Peter Broderick whose own solo work inhabits similar otherworldly dimensions. The new album ‘Piramida’ sounds familiar in its magnificent beauty yet mysteriously unknown, all at once. The live songs showcased the band’s continued evolving blend of dreamy orchestral pop music. Songs like ‘Black Summer’ was a crystallization of all things Efterklang; the heavenly realm of brass, woodwind and strings orchestrated beneath Casper Clausen’s unique voice and songcraft. A symphony of life long emotion distilled in six minutes. The musicianship on display was awe-inspiring. Back stage, stage left was my primary focus during the night. Peter Broderick, a musician lost in the music, who existed in a realm of his own. His majestic harmonies and passionate persona reflected the special air that permeated the sold-out venue. As the band walked off stage, rapturous applause and gratitude escalated to the rafters, whilst the orchestra remained onstage, dumbfounded. Moments later, the joyous musicians graced the stage. ‘The Ghost’ was performed for a second time.

Words: Mark Carry, Illustration: Craig Carry


Saturday 30th July 2011. Savoy Theatre, Cork. The Reich Effect Festival. A celebration of legendary composer Steve Reich for his 75th birthday. The bill: Efterklang And Daniel Bjarnason And Their Messing Orchestra. The seventeen-piece band effortlessly bridged the classical and contemporary worlds. Special guest (and collaborator) Heather Woods Broderick graced the stage with her transcendent folk music. The intimate songs from her ‘From The Ground’ album (‘Wounded Bird’ and ‘Turned’) created magic and stirred souls. The perfect sonic backdrop to Efterklang’s arrival. Current album ‘Magic Chairs’ made up the majority of the set, from the life affirming ‘Modern Drift’ to the atmospheric ‘Mirror Mirror’ (which is still one of my favourite Efterklang songs). The musicians, all seventeen of them, floated into the audience at the night’s end. A symphony of brass sounds and joyous harmonies journeyed around the venue. The band performing alongside the audience. The musicians and audience were one. Efterklang’s music transported us to new horizons as our hearts were filled with that rare inner fulfillingness.

24th September 2012. The release date of ‘Piramida’; Efterklang’s fourth full-length album. The distinctive artwork and design by long-term collaborators Hvass and Hannibal graces the album cover. The uniqueness in design is shared with other luminaries such as Vaughan Oliver (4AD) and Peter Saville (New Order), that is symbolic of the album’s pivotal importance. The core of Efterklang now consist of the trio of Mads Brauer, Casper Clausen and Rasmus Stolberg. Most importantly, special guests and friends graced the ‘Piramida’ recording sessions; Nils Frahm (piano, wurlitzer), Peter Broderick (violin, piano, vocals), Agnes Obel (vocals), Earl Harvin (Tindersticks, drums) and the 60-piece South Denmark’s Girl’s Choir, among others.

August 2011 was when ‘Piramida’ was born. The band (Mads, Casper and Rasmus) travelled to Spitsbergen in the arctic, where the abandoned Russian settlement Piramida is located. It was left overnight in 1998 and today stands as a ghost town still full of relics from its past including the world’s northernmost grand piano. The band spent nine days in this ruin, just 1000km from the North Pole and collected over a thousand recordings which they used afterwards in different ways in the making of ‘Piramida’. The sounds and inspiration collected from this relic filled ghost town can be heard throughout ‘Piramida’. Lyrically (all songs are written by Caper Clausen), Casper has said the songs are inspired by the cycle of human creations-that being creations like an entire city left to decay in the Arctic or the cycles of our interpersonal relationships in life.

‘Hollow Mountain’ opens ‘Piramida’ and what an opener it is. The song’s initial tones are the sounds of protruding metal spikes of an oil tank which was found in Piramida. The song features Earl Harvin on drums, Nils Frahm on wurlitzer (his albums on the Erased Tapes label are all essential), Peter Broderick (strings) and the 60-piece South Denmark Girl’s Choir. The cinematic intro transports me back to Efterklang’s first full length ‘Springer’ released on the Leaf label, which is filled with sublime electronica and multi-layered ambient sounds. The refrain of “Do it, do it, do it, do operator” are the first words sung by Casper. Percussion and a heavenly symphony of sound builds very nicely, with Broderick’s strings providing the song’s shining spark.

‘Apples’ is polished pop of intense beauty. The song was one of the first songs written for the album after the band’s return from their trip to Piramida. As the band have described, ‘Apples’ is mainly a song about letting go of love in the attempt of finding it again. Every element of Efterklang’s musical palette is tapped into here. Harvin’s warm drums provides the song’s guiding beat. The visionary sound of french horn, trombone blends gorgeously with the compelling tones of programmed synthesizer. The intricate arrangements and superior musicianship of Efterklang’s larger ensemble flourishes on ‘Apples’. Casper sings “To runaway, runaway to this heart/you runaway runaway to the start/you are forgotten” wherein one feels the letting go of love occurring during the music’s ebb and flow. For me, ‘Apples’ represents the band’s natural progression on from ‘Magic Chairs’, where their orchestral pop oeuvre is continuing to evolve. Lyrics like “Another way, another way into your heart” and “All kinds of ways into your garden” beautifully evokes the human heart’s search for love.

Ascending harmonies and rising tones are the first notes on ‘Sedna’. The directness of this ballad for me is simply breathtaking. A beguiling atmospheric soundscape builds throughout. Rasmus’ bassline groove is one of ‘Piramida”s highlights. Peter Broderick’s piano and violin adds to the astral journey. “All living is taking me over/There is a truce in calling for the night”, Casper sings on the chorus that conjures decay and life’s unravelling. The falsetto vocal creates new depths to the new age ballad, recalling the sound of The Antlers. ‘The Ghost’ is the album’s anthem. Similar to ‘Modern Drift’ from ‘Magic Chairs’ or ‘Mirador’ from ‘Parades’, ‘The Ghost’ is laden with irresistible pop hooks and layers of intricate sound. Soul is washed over the sheen of orchestral pop. The chorus refrain of “the ghost the ghost that never was” stays with you long after ‘The Ghost’ comes to completion. Towards the final stages of the song, an eruption of glorious soul takes place. Casper’s falsetto and a combination of harmonies swirl together amidst the full swing of orchestra. ‘Piramida’ is in full fruition here, with shades of Curtis Mayfield such is its uplifting, life affirming soul. Timeless.

‘Black Summer’ is the album’s centrepiece. I think this is their finest creation thus far. The wide dynamic range, from hushed, cinematic tones of keys (what a groove!) to the crescendo of the 60-piece South Denmark Girl’s Choir transcends time. The power and glory of the band’s very essence of sound is to be celebrated on ‘Black Summer’. Brass, woodwind, strings and choir expels darkness. Agnes Obel’s backing vocals casts magic over the dark realm of sound. ‘Black Summer’ belongs to the works of Steve Reich, with its pulse and flow of life and emotion. A full-blown masterpiece. The initial piano notes of ‘Dreams Today’ echoes the otherworldly dimensions of Iceland’s Mum and Sigur Ros. Electronics, piano and xylophone provide the sound clouds for dreams. ‘Dreams Today’ is an electronica gem with masterful production. ‘Between The Walls’ contains uplifting trumpets and saxophone that lifts you in a profound way. The dreamy synth of ‘Monument’ provides a fitting close to ‘Piramida’. The woodwind of flute adds bright colours to the expansive canvas of sound. The spectrum of Brian Eno’s ambient works is explored here, where a 21st century lullaby drifts onto the horizon of the arctic and beyond.


Interview with Rasmus Stolberg

The new film ‘The Ghost Of Piramida’ documents your visit to the former Russian mining town. Describe the influence the place of Piramida had on you please?

Rasmus: It is the kind of place where you can’t help thinking or wondering. You start thinking about mankind and time and nature in broad scales – and afterwards on your own little persona and what exactly you are and why.

It was a big inspiration and also a little sad – I have to admit it is not an uplifting place. You sort of get the feeling that humans are this parasite desperately trying to overtake a magic and dramatic place where we don’t belong -> this forces the question -> where do we belong?? I don’t know. But creating music and making this trip into something special felt good.


The wonderful film ‘An Island’ by Vincent Moon is a beautiful insight into Efterklang and is filled with many inspiring scenes and moments. The last scene takes place at Sønderborg Gymnasium. 

The three of you-Rasmus, Casper and Mads; attended this high school in the late 90’s. This is the time and place where you all started playing music together. Can you please recount for me your memories of this special time, where you started playing music together.

Rasmus: I started my first band with Mads when we were in 6th grade. Later we were in different bands sort of competing a little.

Later I started in high school and at the opening party Casper and I decided we should start a band with a drummer, bass player, two guitarists and we felt it was very important to have an organ player as well. We never found the organ player, but we asked Mads to join the band shortly after.

It was a good time and our early adventures developed into the dream of moving to Copenhagen and so we did and this is where Efterklang took its start.


Congratulations on your new album ‘Piramida’. The record is yet another masterpiece full of compelling sounds and intricate details. My personal favourite is ‘Black Summer’ and in fact, it could be my favourite Efterklang song. Can you please discuss the construction of this song and how it came together to become ‘Black Summer’?

Rasmus: It started with that marimbaish sound that sort of loops. Thats a sound we found in Pyramiden on Svalbard. A drumbeat and the piano chords were added and we all agreed there was some magic to this loop. It was about 1 minute long. we couldn’t figure out how to make it into a song however. It was one of the songs we spend the most time on. It almost didn’t make it to the album – today we are really happy that it did!


I was very fortunate to see you perform ‘Piramida’ with the Major Lift Orchestra at the Opera House in Cork. I would love to gain an insight please into the band’s preparation process involved for playing these new songs live with an orchestra on this ‘Piramida’ tour?

Rasmus: It was a project almost as big as the making of the album.

we collaborated with the composers Missy Mazzoli and Karsten Fundal on the arrangements for the orchestra and spent many hours getting those scores to be perfect.
We also engaged Hvass&Hannibal and scenographer Nico de Rooij to create a special set design and visuals.
we were running out of time before the premiere in Sydney Opera House – the weeks leading up to that concert we practically spent every hour awake working on this / rehearsing, changing stuff, scores, visuals etc etc etc

When we finally got on stage in Sydney the work paid off – we were able to actually enjoy playing and we knew our parts even though every single one was completely new. It was such a relief. wow!


‘Piramida’ is out now on 4AD


Written by admin

December 16, 2012 at 7:16 pm

Chosen One: Peter Broderick

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Interview with Peter Broderick.

Peter Broderick is an artist, in the truest sense. His music is divine art. As a singer-songwriter, musician, composer and collaborator, Peter Broderick’s art in making music is one of undeniable genius and inspiration. Each of Broderick’s works transcends time, from his guitar based folk songs and film scores to intimate 4-track recordings and instrumentals based on piano and strings. His newest work is a collection of ten vocal and lyrical experiments, entitled ‘These Walls Of Mine’, freshly released on Erased Tapes. For me it’s Peter Broderick’s most compelling work to date, where he effortlessly combines electronica, folk, gospel, soul, hip hop and classical music. Yet again, the Berlin-based composer has created a true masterpiece.

Words: Mark Carry, Illustration: Craig Carry

2008 was the year I first heard Peter Broderick’s music. I walked into my local recordstore, Plugd, wherein this unknown, beautiful music was swirling in the air. The sound of piano and strings was utterly enchanting to me. I immediately asked Jimmy, “Who is that?” and he replied, “It’s Peter Broderick.” The album was ‘Float’ (2008, Type) and the very piece was ‘A Snowflake’. The album ‘Float’ is based around piano and strings with a theme returning throughout. Pastoral beauty is etched on its rich canvas of cinematic sound. Later that year, ‘Home’ (Bella Union, 2008) was released, which was Broderick’s first proper vocal album, based around layered voices and guitars. A rich tapestry of sound is created, combining warm ambient textures, found sounds, layered vocals and floating guitars.

A short time later I witnessed Peter Broderick in concert. Alone onstage, Peter would move back and forth to his array of musical instruments, more often mid-song, as ever capturing that moment that transcended space and time. Musical saw, piano, violin, guitars and vocals were each looped into the live mix that was awe-inspiring to observe. A deep connection was made between the audience and musician. At times, Peter walked into the audience and played the violin. The strings floated magically through the air. The solo musician and audience were one. The music transported audiences to new, unknown horizons. Peter spoke into the microphone, “This next song was written by my father. He used to play it to me on the guitar when I was a child. It goes like this.” His foot pressed a pedal and this voice passage was looped over his acoustic guitar melody of sliding notes. “This next song was written by my father” was played again, at which point Peter raced over to his violin. The violin notes graced his father’s guitar melody so beautifully. The intimate feeling captured during this song, of a son’s love for his father, was utterly transcendent. Peter Broderick’s music, forever makes a deep connection with the listener. Music that makes you feel. His later releases share the same spark of wonder, from ‘Music For Falling Trees’ (2009, Erased Tapes), ‘4 Track Songs’ (2009, Type) to ‘How They Are’ (2010, Bella Union), ‘HTTP:WWW.ITSTARTSHEAR.COM’ (2012, Bella Union) and ‘These Walls Of Mine’ (2012, Erased Tapes).

‘I’ve Tried’ was my first introduction to ‘These Walls Of Mine’. The song is a symphony of sound. The vocal refrain of “I’ve tried” with electronics and dreamy synths are the first tones of ‘I’ve Tried’. A spiritual feel permeates from the words and music. A magical dimension exists within the song’s walls akin to Talk Talk circa ‘Spirit Of Eden’. The bassline groove on the verse is repeated over Broderick’s refrain. The dynamic changes gorgeously on the verse, with heartfelt vocals and waves of synthesizer. The lyrics are sheer poetry:

In this brave new world, the only God is you
In this game of hearts, the only card is you
In this song of love, the only voice is you
In this voice of you, every sound must be true

“This song of love” continues to evolve with the addition of majestic violin strings over the chorus refrain of “I’ve tried”. As the verse is repeated, Broderick’s vocal turns to a whisper, gently reading his words from a page.

Album opener ‘Inside Out There’ is complete with the warmth of electronica, acoustic guitar and drifting violin strings. Broderick’s looped vocals and harmonies melts into the mix of bubbling electronics, conjuring up indietronica soundscapes reminiscent of Schneider TM. ‘Freyr!’ is a country folk gem that is based on “an email from Pop” dated Thursday November 12th 2009 giving news to his son that ‘Freyr’, “his beloved cat” has disappeared and is gone. This email is read out by Broderick; his spoken word is orchestrated over a haven of folk sound. Magnificent harmonies are added later, sharing the quality of Brian Wilson’s ‘Pet Sounds’ creations. The song is immersed in emotion and ends with reverb of electric guitar notes. ‘Proposed Solution To The Mystery Of The Soul’, combines the soul of Sam Cooke and Tom Wait’s beat boxing. “I love when words ring out true” is a lyric that certainly rings true for all of the singer-songwriter’s songs. ‘When I Blank I Blank’ is a dialogue of voices dotted on a sonic backdrop of funk, soul, dance and rap. The sound is compelling. Broderick’s words, his innermost thoughts breathes between looped harmonies and infectious dance groove.

‘These Walls Of Mine I’ is a spoken word piece, introduced as “some words on a page with an intention of recording an audio interpretation of these words”. These words are sheer poetry; “So even though I don’t know where I’m going to go/I keep my eyes wide open and I’m always hoping/That I might see a place or a pretty face, She walks with grace/And everyday it gets late and I crawl into bed/Darkness ahead”. ‘These Walls Of Mine II’ is a second audio interpretation, reworked as a compelling hip hop tour de force. Broderick’s artistry is in full flow. Violins, beats, piano, and immaculate production is the backdrop to the Buck 65-esque hip hop rhymes. It is amazing to hear the two versions back to back, hearing the infinite possibilities of song. ‘I Do This’ is a folk opus recalling older releases such as ‘Home’ and ‘How They Are’. The acoustic guitar notes rise and fall beneath Broderick’s spoken word. “A melancholic longing for something which seems to be so near but out of reach” is a lyric that resonates strongly through the music. Comments from fans and strangers are scattered in the song’s verses. ‘Copenhagen Ducks’ is an electronica/ambient exploration. The hypnotic dance beat and found sounds combine with Broderick’s layered harmonies.

Endless possibilities are journeyed through the sublime ambient clouds of sound. I love the electric guitar tones and Peter’s spoken word that appears in the second half of ‘Copenhagen Ducks’. Perfect headphone listening. The sound of an artist pushing the sonic envelope, and in turn, covering new and exciting ground. ‘Till Danmark’ closes ‘These Walls Of Mine’ with a soothing gospel lullaby, bidding you good night. A special album encompassing worlds of Arthur Russell and beyond, awaits you.

Congratulations on your new album ‘These Walls Of Mine’, Peter. It’s been swirling beautifully inside the air that I breathe for the past month.  My first introduction to your awe-inspiring music was ‘Float’ (Type, 2008), and shortly afterwards, ‘Home’ (Bella Union, 2008), which I vividly remember purchasing in my local recordstore. Forward four years, and you have done so so much; releasing a plethora of solo albums, film scores, music for dance, collaborations and much more besides. You must be one of the most consistent artists around today and it’s a real pleasure to ask you some questions during this time of the release of your finest solo work to date, ‘These Walls Of Mine’ (Erased Tapes).

Please discuss the creative process behind recording your new album, ‘These Walls Of Mine’.

For much of 2007-2010 I was posting images and stories from my travels quite regularly on flickr. At some point in 2009 I started recording some little experiments and sketches and posting them as free mp3’s alongside images and some words. Many tracks were created as a kind of collaboration between me and my flickr audience, bringing strangers into the creative process and using their comments as song lyrics. During this time I also had surgery on my knee, which left me rather immobile for several months. So I spent much of that time sitting alone with my laptop and a minimal recording setup, trying out different styles of music. I think it’s also fair to say that my newfound love (at that time) for cannabis played quite a large role in the flow of inspiration… Anyhow, I hadn’t thought much about ‘releasing’ the music properly until Robert from Erased Tapes wrote to me . . . he had been following the work online, and suggested that we put some kind of album together. I was quite humbled and thrilled that someone wanted to put this wacky stuff on a record! But back then I was still in the middle of making my ‘http…” album, so I decided to hold off on doing something with this music until that other project was finished. That took quite some time . . . but once I finally wrapped up ‘http…’ in early 2012, Robert was still interested in making a release of all those experiments, so I decided to rework all the music for an album. Since mostly everything had been recorded directly into my computer with one cheap microphone, I wanted to find a way of warming up the sounds, to somehow make it not sound so digital and clean. And so began the process of working Martyn Heyne at his Lichte Studio in Berlin, literally taking all the separate tracks I had recorded and running them through his collection of tape machines and echo boxes. I added a couple newer songs (I’ve Tried, Proposed Solution…) to the mix, which I had made in a similarly curious fashion after I stopped updating the flickr page, and in the end I think we arrived at what feels to me like a strange yet cohesive collection of music! Martyn certainly brought a lot to the general sound, as did Nils Frahm with his mastering. And to tie it all together we designed some deluxe versions of the cd and vinyl, complete with embossed boxes and string-bound books with pictures of cats I’ve taken over the last years.


You have said “I loved that uncertainty, of surprising myself and others around me”. This couldn’t be more true for ‘These Walls Of Mine’, where you continue to cover new ground and experiment with sound. Hip hop, beat box, spoken word, classical, electronica, folk are just some of the genres you combine so wonderfully.

‘I’ve Tried’ reminds me of Talk Talk circa ‘Spirit Of Eden’. A spiritual feel flows through this song of love. Can you remember the feeling you had when this song was formed in your head, and then later, when it was recorded to tape?

I remember very clearly the process of making this song. I was alone in my Berlin apartment late at night, smoking and writing lyric ideas in a notebook. And as I was writing this set of words, I started singing them as if they were from a cheesy R&B song from my childhood. I paced around singing over and over again what became the main melody in the chorus. I got really excited about making a song in this style. So I figured out how to perform a version live, with just a beatboxing/choir loop and a casio keyboard, and I made a live recording of the song right away, and this very primitive performance of the song is the final version on the record! Of course I added a few extra layers to fill it out a bit. But I’m happy to hear the Talk Talk reference! I wasn’t consciously taking inspiration from there, but I do love ‘Spirit of Eden’!


The lyrics are so beautiful. Was this the song that shaped the album, ‘These Walls Of Mine’?

The lyrics from “I’ve Tried”? I wouldn’t say they really shaped the album, as that song came into the mix quite late in the process . . . but for me it was like the icing on the cake, the last piece to complete the puzzle.


I love your spoken word pieces on the album, which always exudes this special force. ‘These Walls Of Mine’ is a collection of words on a page with the intention of recording an audio interpretation of these words, as you say on ‘These Walls Of Mine I’.

How much of your songs begin with poetry, later to be audio interpreted?

It really depends . . . sometimes I go through phases where I’m starting more with melodies and musical phrases, and sometimes I’ll spend a while writing words and then adding music to them.


You have published your own book of poems, some of which became songs on the wonderful ‘How They Are’ E.P (Bella Union, 2010). Do you hope to publish more poetry in the future? (I hope so).

I hope so too! At the very least I’d like to make a new edition of that first book of poems, just to give to friends and offer at concerts. But I have many ideas for other poems and stories . . . I just don’t know if and when I’ll get around to finishing for publication.


Who are your favourite writers?

To name just a few . . . Miranda July, Jack Kerouac, Jeremy Narby


“That sound that’s always there and waiting to be found, again” is a lyric from ‘These Walls Of Mine’. Is this the essence of making music for you?

You could say that! But that line is also about accepting natural sounds which are already there, or even the voice inside your head…


I love how the two versions of the title track; one is an intimate spoken word piece and the second is compelling hip hop reminiscent of Buck 65, are sequenced back to back. Your lyric “Even though I like to sing, I just think it’s fun to try everything” epitomises this feeling of joy in creating music that’s dotted all over the album.

Did you envisage two versions early on in the recording process of the song ‘These Walls Of Mine’?

Despite the running order on the album, the rap song actually came before the spoken text. I was really interested in the difference of how the words come across when they are spoken normally compared to how they sounded in context of the song. More and more I come to believe that the way in which the content is delivered or expressed can often times be more important than the actual content itself. Rather than try to write the perfect song or melody, I’m more interested in finding a way of delivering (performing) music in a way that feels consistently good and positive.


‘When I Blank A Blank’ is sublime. I love the groove. It’s soul, rap, funk, dance all in one. What is the inspiration behind this song? The dialogue of voices between your spoken word and the looped harmonies “of thoughts left unfinished”, is so compelling.

I can’t remember how or when I got the idea to make that song . . . I just know that at some point I made this sentence (When I ___ I ___, and my ___ is ___.) and asked people to fill in the blanks on flickr. Many people posted their own versions of the sentence as a comment, and immediately I got to work making a piece of music to fit the words.


‘Freyr!’ centres on “an email from Pop” dated Thursday November 12th 2009, telling you that Freyr, “your truly magical cat” has disappeared and is gone. This is set to beautiful country music. There is a playfulness here, yet immersed in depths of emotion. It is like a classic Wes Anderson film.

Does ‘Freyr!’ originate from this very email?

Indeed. I was very touched by that email from my father . . . firstly because that was my cat and I really loved him . . . and secondly (and perhaps more relevant) because most emails from my father are extremely brief and to the point . . . but this one, although still quite short, seemed to me like he was pouring his heart out. I had to do something with those words.


The harmonies that loop over your spoken word share the glorious tones of Brian Wilson and ‘Pet Sounds’.

You sing “I love when words ring out true” on ‘Proposed Solution To The Mystery Of The Soul’, combining the soul of Sam Cooke and Tom Wait’s beat boxing. I think anything you sing does just that, it rings out true. 

‘I Do This’ is beautiful folk music, echoing your ambient folk opus ‘Home’. “This song is waiting to breathe life” is my favourite lyric. The song hits you, like all your music, with its directness and honesty.

“A melancholic longing for something which seems to be so near but out of reach” lies at the song’s core.

I love the electronic/ambient track ‘Copenhagen Ducks’. Where does the inspiration lie in this song?

That song started with a field recording I made of a marching protest band playing on the streets of Copenhagen. That’s the first sound you hear. I made a loop from a particular part of the recording that I really liked, and then I just starting singing over it. Then I ended up beatboxing and making my own beat which matched the tempo of the street band . . . Then years later I found a recording I made in Christiania, where I’m just sitting outside and talking rather blandly into my dictaphone. I cut up that speech and then selected bits to sing along with or comment on with more layers of vocals. I guess the inspiration comes from wanting to make a track that’s more beat driven, which could almost work on the dance floor . . . but to make a track like that with very few elements . . . mostly just my voice and the field recording.


The lyrical contributions from friends and relatives on ‘These Walls Of Mine’ you have said, was made possible by the internet. From a musician’s perspective, what are your thoughts on the internet and its effect on music as a whole?

I have very much a love/hate relationship with the internet these days. I know that I wouldn’t be in the position I’m in now if it weren’t for the internet . . . but at the same time I really hate how much time gets sucked away at the computer! But in general my attitude is . . . the technology is there, so let’s embrace it and try to use it in a constructive way.


The Broderick household must have been immersed in music while growing up in Copenhagen, with your extremely talented sister, Heather. How soon did you realize music was so important for you?

I actually grew up in Carlton, Oregon, in the USA . . . very small town. I didn’t move to Denmark until I turned 20. But yes, our house was filled with music. I’ve been playing instruments since the beginning of my memory . . . I especially idolized my older brother who was really good at the electric guitar and saxophone.


Describe the city of Berlin, where you now live and how the place shapes your music?

Berlin is still quite cheap and is very central for most of the traveling I do around Europe. In addition to that it is filled with tons of creative people experimenting and trying out different art forms, some more successfully than others… But that exploratory nature is what’s nice about the city. Whatever you are into, you’re likely to find at least one place in Berlin which is specializing in that area. And unlike many other big cities, there are lots of nature areas like parks and lakes in and around Berlin, so it’s also possible to get to a more relaxed atmosphere very quickly, even when in the middle of the city!


You have been a long-term member of the wonderful Efterklang. I recently saw you and the band perform ‘Piramida’ with the Major Lift Orchestra in Cork and needless to say it blew me away. How does your involvement in Efterklang shape you and your own solo music?

Those guys gave me the boost I needed to believe in my own music and make a career out of it. Before I ever started playing with them, I was in love with their music and very directly inspired by it. But of course now I’ve been playing with them for five years, so it’s really hard to tell in which ways I’m still influenced by them . . . I spend so much time around those guys and their musical ideas, I’m sure it all feeds itself into my music somehow…


In terms of collaborations, you have worked with so many diverse artists from Machinefabriek to Nils Frahm. I loved oliveray, your collaboration with Nils. The version of Efterklang’s ‘Harmonics’ is gorgeous. You also introduced me to Tiny Vipers with the closing song ‘Dreamer’.

What is it like working and collaborating with like-minded artists, such as Nils?

When me and Nils play music together something magical happens. There is this energy in the air . . . a kind of energy that makes you think that anything is possible. And what better circumstances to make music under than when everything seems possible!? Nils is a musician and producer and a friend that I love and cherish… I like to believe I learn something new with each new collaboration I partake in.


Who are your favourite composers?

To name a few . . . John Cage, Arvo Pärt, Arthur Russell


You have very recently reworked Philip Glass. Tell me about this project.

Yes! I was invited to participate in this Philip Glass remix album curated by Beck. And of course I was thrilled! I worked together with my friend Greg Haines (also living in Berlin) to make a new version of “Island” from his classic album ‘Glassworks’. What an honor!


What albums are you listening to lately?

Awesome Tapes From Africa (vinyl reissue series)
John Cage – “Empty Words (Parte III)”
ESG – “Step Off”
Nils Frahm – “Screws”
Kyle Bobby Dunn – “Ways of Meaning”
Plus I’ve been listening a lot to some recent collaboration projects I’ve been working on . . . one is a little mini album I made together with my father, based around his nylon guitar songs . . . another is an album by pianist/composer Lubomyr Melnyk, which I produced and compiled and played on most of the tracks. Both of these projects should be released sometime early next year 😀

‘These Walls Of Mine’ is out now on Erased Tapes.

Written by admin

October 23, 2012 at 11:23 am

Something’s Going On: Efterklang

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 Illustration: Craig Carry

This week sees the highly anticipated return of Denmark’s Efterklang in support of their forthcoming album, ‘Piramida’. For their Irish dates in Cork and Dublin, the band will be joined by The Major Lift Orchestra. The audiences who witnessed Efterklang’s live appearance in Cork last year as part of The Reich Effect Festival, know what a special occasion awaits us.

‘Piramida’ will be released on September 24th on 4AD.

Efterklang will feature in our ‘Chosen One’ section very soon.

Efterklang play Meeting House Square, Dublin, Fri Sept 14th, as part of the Absolut Fringe Festival, and Opera House, Cork Sat Sept 15th, with The Major Lift Orchestra conducted by Matthew Coorey.


Written by admin

September 11, 2012 at 5:53 pm