FRACTURED AIR

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Chosen One: Greg Gives Peter Space

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Interview with Peter Broderick.

“I like to embrace the ever-evolving life of a song, and dub music is a very good outlet for that…”

—Peter Broderick

Words: Mark Carry

Artwork: Peter Broderick

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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.

‘Greg Gives Peter Space’ is a six-track mini album which reflects the latest artistic endeavors of Haines and Broderick, who have both been heavily immersed in a seamless array of collaborations in the not-too-distant past. American-born musician and composer, Broderick has long been synonymous with Copenhagen’s Efterklang, in addition to magnificent collaborative works with close friends Nils Frahm and Dustin O’Halloran, to name but a few. British born and Berlin based composer, Haines’s collaborative work includes his ongoing work with the Alvaret Ensemble (whose carefully constructed compositions feature intricate layers of brass, electronics, piano, voice, guitar and percussion) and 2012’s collaboration with the Dutch National Ballet and choreographer David Dawson.

Interestingly, it is the respective artist’s latest solo works which gives traces to the dub-influenced sounds of Greg Gives Peter Space. ‘These Walls Of Mine’ (Erased Tapes, 2012) saw Broderick effortlessly fuse a myriad of genres — soul, hip hop, folk, modern-classical — and the album’s longest cut ‘Copenhagen Ducks’ feels like a distant companion to ‘The Drive’s similarly evolving dub-infused sound. A space and dimension is wonderfully attained. Last year’s Denovali Records LP ‘Where We Were’ (Haines’s most groundbreaking and daring work to date) reveals the British composer’s fascination with dub music (and, indeed, musical experiments) where seamless layers of synthesizers created a resolutely unique body of work. Greg Gives Peter Space feels like the natural next step, where two like-minded artists forge thrillingly new, enchanting sounds.

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‘Greg Gives Peter Space’ is available now on Erased Tapes.

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https://www.facebook.com/greggivespeterspace
http://erasedtapes.com

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Interview with Peter Broderick.

Congratulations on the incredible Greg Gives Peter Space record, which marks a special collaborative project between you and your close friend, Greg Haines. The music stems from your shared fascination and love for dub music. I must first ask you to discuss your love of Jamaican music and what records provided you the gateway into this exciting world of sound? What have been the most recent dub discoveries for you, Peter?

Peter Broderick: I will admit that the dub influence probably comes more from Greg’s side than from me . . . Greg has been collecting dub records pretty seriously over the last few years, and there have been many nights of us sitting together at his place, him playing me record after record of obscure dub. I’ve picked up several records myself and really grown to love the dub, but I’m an amateur compared to Greg. I do really love pretty much everything I’ve heard from the Wackie’s label . . . recently I picked up a record by Joe Gibbs called Majestic Dub . . . it’s pretty amazing! I’ve also been getting into a local record label here in Portland called ZamZam . . . they only release limited 7″ vinyls of dub music. Very cool!

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One of the most striking aspects of Greg Gives Peter Space is the intuitive nature of the music, something that has proved a constant in both your and Greg’s solo work to date. Can you please recount your memories of recording the album? In terms of the musical layers, did your vocals and arrangements appear first or was it a case of Greg’s synthesizers and tape machines providing the starting point?

PB: The process for each song was quite different . . . some of them started as songs that I wrote, and then Greg sort of de-constructed them and expanded upon them. Others started as improvisations and sound experiments… For instance, The Feeling Shaker basically started when Greg showed up at my apartment in Berlin a few years ago, saying he had recorded some synthesizers, and suggested that we try and make a song based around those recordings. I had this vocal melody in my head that I had been singing to myself while walking or showering, etc… So I sang my words over the top of his synths. Then we added another track where Greg played piano and I played bass. Then we played some percussion together. Everything was done in one or two takes. This song bounced around in many incarnations for several years, before we finally sat down together and made a final mix in early 2014. The mixing process was a huge part of the sound for this record. This is where the dub inspiration really came into play . . . sending the mixes to Greg’s old tape machines, adding live effects as the final mix was being recorded.

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I feel ‘Electric Eel River’ is one of the most special songs you have written thus far. The intimacy, openness and sheer beauty of the ballad provides endless inspiration. Can you please recount for me writing this song? It serves the formidable centrepiece to the record.

PB: I’m so happy there has been a good response to that song. I remember very clearly how that song came about. I was in a hotel by myself in Oslo last winter, and I had my banjo with me. I was thinking about this night I had in the redwood forest last year, getting lost in the woods by myself, having the time of my life, realizing I wanted to move back to America. And I wanted to make a song about that evening. Originally the song was just called Eel River . . . but after Greg got ahold of it and “gave it some space”, he appropriately added Electric

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Rupie Edwards described dub music as “a way of life coming out of a people.” I think this could be the essence of the interstellar journey that Greg Gives Peter Space takes you on. Can you discuss the construction (or indeed de-construction) of ‘The Drive’? This song serves the perfect prologue to the album’s narrative.

PB: The Drive started out as a very basic song, just guitar and voice, just three chords over and over again. Greg actually thought it was kind of a boring and plain song, ha, and basically he wanted to mess it up and make it a little more interesting. In the end the guitar is hardly a part of the song any more . . . but we had a lot of fun playing around with rhythms and percussion, synthesizers, building a small little homemade orchestra for the second chorus . . . and of course, lots of dubby effects!

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What is fascinating about dub music is the endless versions and re-workings of various songs depending on whose production marks are left on the record. For example, I love how there are two versions of ‘Clear View’ on the record. Is it a challenge to settle on one particular take (when honing in on a certain sound or feel) when I imagine you both effortlessly create many mutations of songs as they gradually evolve to its final entity?

PB: It’s always a little strange to make the decision or acceptance that something is “finished” . . . and in fact, I don’t like to think of recordings as “final” versions of songs . . . a song is basically just an idea, and it changes every time it’s played. Even when listening to a recording, it’s going to be different every time, depending on the stereo system, the setting, what you ate for breakfast, everything! I like to embrace the ever-evolving life of a song, and dub music is a very good outlet for that.

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After playing several UK shows during the summer, how have the songs translated to the live setting and have they changed in any way from the studio recordings? I can imagine playing these songs live must be a real thrill.

PB: We had a lot of fun at the shows . . . the songs all became much longer. We save a lot of room for improvisation when we play live, using the songs as a starting point to try and create something new each night. And it’s been a real thrill to get people dancing…

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The album artwork is amazing. It really conveys the ceaseless dimensions the music inhabits. Can you please talk about the artwork that beautifully adorns the sleeves and who is responsible?

PB: We’re so happy with the artwork! It’s actually kind of a funny story . . . Greg and I had this very concrete idea of a picture of Greg in a spaceship with his studio inside, then I would be floating in space connected to Greg’s ship. And we actually had several artists try and create this image before finally ending up with Henning Wagenbreth who did the final version. At one point I even tried to draw the image myself, but since my drawing skills haven’t changed since the 3rd grade, we decided to hire a professional in the end.

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What is next for you, Peter? 

PB: I am preparing for the release of my next solo record on the Bella Union label. I have a single/ep coming out in October (including a dub version of one of the songs by Greg!), and the album will be out next spring. I’ll be playing a lot of concerts around the release of the ep and album, with the help of three very talented musicians from Switzerland . . . it will be my first time touring with a band! But before all that Greg and I will be playing some shows together on the west coast of America. I’m really looking forward to showing Greg the area where I come from.

All artwork above by Peter Broderick. 

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Greg Gives Peter Space will tour across the east coast of the U.S. this month:

24.09. LOS ANGELES (US) The Echo
25.09. SAN FRANCISCO (US) The Chapel
27.09. PORTLAND (US) Mississippi Studios
28.09. SEATTLE (US) Decibel Festival

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‘Greg Gives Peter Space’ is available now on Erased Tapes.

https://www.facebook.com/greggivespeterspace
http://erasedtapes.com

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We’re delighted to be presenting Peter Broderick’s following concert this October:

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 and from Plugd Records, Floor 1, Triskel Arts Centre, Tobin St. Cork.

Tickets can be purchased online here:
http://www.corkoperahouse.ie/events/peter-broderick-plus-band

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Written by markcarry

September 10, 2014 at 11:34 am

Mixtape: I Think I Knew [A Fractured Air Mix]

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I Think I Knew [A Fractured Air Mix]

A selection of some of our favourite music released in the first six months of 2014.

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-think-i-knew-a-fractured-air-mix/

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Tracklisting:

01. William Tyler ‘Whole New Dude’ (Excerpt) [Merge]
02. John Murry ‘Glass Slipper’ [Ruby Works]
03. The War On Drugs ‘In Reverse’ [Secretly Canadian]
04. Marissa Nadler ‘Firecrackers’ [Bella Union / Sacred Bones]
05. The Delines ‘The Oil Rigs At Night’ [El Decor / Cortez]
06. Cate Le Bon feat. Perfume Genius ‘I Think I Knew’ [Wichita / Turnstile]
07. The Moles ‘This Is A Happy Garden’ [Fire]
08. Greg Gives Peter Space ‘Electric Eel River’ [Erased Tapes]
09. Hauschka ‘Thames Town’ [City Slang / Temporary Residence]
10. Roll The Dice ‘In Deference’ [Leaf]
11. Trans Am ‘I’ll Never’ [Thrill Jockey]
12. Jamie xx ‘Girl’ [Young Turks]
13. Caribou ‘Can’t Do Without You’ [City Slang / Merge]
14. Hydras Dream ‘The End’ [Denovali]
15. Yann Tiersen ‘Meteorites’ [Mute]

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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.

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

Mixcloud / Soundcloud

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Fractured Air 14: Time To Be Free (A Mixtape by Greg Haines)

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A special Dub Mix compiled by the UK-born and Berlin-based composer Greg Haines. This June, Greg Gives Peter Space, Haines’s brand new collaborative project with US songwriter and multi-instrumentalist Peter Broderick, release their debut album via Erased Tapes. Haines’s latest solo LP is the magnificent ‘Where We Were’, released last year on Denovali Records. As well as producing a string of impressive solo albums over the past decade, Haines also performs alongside both The Alvaret Ensemble and The Group. 

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Fractured Air 14: Time To Be Free (A Mixtape by Greg Haines)

To listen on Mixcloud:
http://www.mixcloud.com/Fractured_Air/fractured-air-14-time-to-be-free-a-mixtape-by-greg-haines/

“You hear a lot of talk about “dub” music these days, and I myself find the word slipping from my lips on a daily or sometimes hourly basis. “Dub” is cool again, and I have to admit I find it a bit frustrating that the word “dubby” is thrown around in reviews of every album that has echoey vocals or a cowbell! The word “reggae” still seems like it hasn’t caught on, it’s as if its a dirty word. But dub without reggae is the equivalent of John Cage’s 4’33”: just an empty tape of silence. So here is a mix that is based around roots reggae tracks that I have been spinning recently — it sure is dubby, but you can’t forget your roots!”

—Greg Haines

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Tracklisting:

01. Cedric “Im” Brooks ‘Satta Massa Ganna’ [Water Lily]
02. Jackie Mittoo ‘Ayatollah’ [Nefertiti/Basic Replay]
03. Dadawah ‘Run Come Rally’ [Trojan]
04. Keith Hudson ‘Felt The Strain’ [Joint International]
05. Al Campbell / General Lee & Trinity ‘Jah Love / Jah A Me Right Hand Man’ [High Power Music]
06. Pad Anthony ‘Blackman’s World’ [Hit Bound]
07. Sista Beverley ‘Rasta Woman’ [Iroko]
08. Willie Williams ‘Come Make We Rally’ [Black Roots]
09. Dennis Bovell ‘Jughead’ (Dubplate Mix) [Kingston Connexion]
10. Ernest Wilson ‘I Know Myself’ [Hit Bound/Channel One]
11. The Mystic ‘Forward With Jah Orthodox’ [Black Art]
12. Freddie McKay ‘I Am A Freeman’ [Money Disc]
13. Noel Tempo ‘Time To Be Free’ [Iroko]

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Track-by-track description by Greg Haines:

01. Cedric “Im” Brooks ‘Satta Massa Ganna’ [Water Lily]
When asked to compile this mix, I immediately thought of this track to start it off. Originally written by The Abyssinians and covered endless times since, it has even turned into something of a hymn for the Rastafarian religion. This version brings a completely different flavour to it — something like a reggae big-band feel, which opens with such power and confidence that in a strange way it reminds me of the classic opening passage of Isaac Hayes’ “Hot Buttered Soul” album.

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02. Jackie Mittoo ‘Ayatollah’ [Nefertiti/Basic Replay]
A beautifully synth-y track, reissued by Basic Replay, this was another contender for the opening track of this mix. Its got a little bit of an Ethiopian feel to it, along with a lot of hazy sci-fi goodness, which always seems to work well in the context of dub. Amazing female backing vocals hidden in there too!

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03. Dadawah ‘Run Come Rally’ [Trojan]
This record is one of my favourite recent finds — it has a spaciousness and a sacredness to it that combine to create something really beautiful. Run Come Rally, a Niyabinghi chant from Jamaica, is another song that crops up very often in different versions, but after hearing this version, it will always belong to Dadawah to me. Ras Michael, the man behind the project, has released many records and so far I have loved everything I have heard. Always very loose and vibe-y, but made with intent.

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04. Keith Hudson ‘Felt The Strain’ [Joint International]
A less common cut to the famous track by the legend that is Keith Hudson. There is always something to his tracks which is unique — to me the only way I can explain it is a hot, swampy sound. Its like the music is dripping in sweat. It’s also got a strong psychedelic quality to it — the room must have always been smokey when Keith Hudson was recording! I could have easily have picked another track from him, especially something from the “Playing it Cool” album which I love, but I just picked this up a few weeks ago and its been on heavy rotation ever since.

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05. Al Campbell / General Lee & Trinity ‘Jah Love / Jah A Me Right Hand Man’ [High Power Music]
One of my favourite tracks to DJ with. The take over in the middle is insane and brings a huge smile to my face every time I hear it…“Jeeeessuus Christ! We’re Nice!”. The legendary Roots Radics playing the riddim, and Scientist behind the desk – which is always a winning combination. And lets not forget Al Campbell’s powerful vocals. Incredible track.

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06. Pad Anthony ‘Blackman’s World’ [Hit Bound]
The b-side to Sugar Minott’s “No Vacancy”. Minott’s work, particularly on the Wackies label, often blows me away, but as I recently made a mix of exclusively Wackies tracks, I thought I would try to stay away from it this time. Anyone who says that the lyrics of dub reggae are all nonsense should listen to this track — it’s heartbreaking; political yet personal, and pretty melancholy despite the upbeat riddim.

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07. Sista Beverley ‘Rasta Woman’ [Iroko]
More women singing reggae please! I love the sound of a woman’s voice over such a tough riddim — if someone out there has some more recommendations for me, please let me know! Reissued through Iroko — a constantly good label from France. Produced by Dennis Bovell — but more about him in a minute!

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08. Willie Williams ‘Come Make We Rally’ [Black Roots]
Not much to say about this one except that its a beautiful production — slinky! Fantastic horns. Produced by Sugar Minott, who I mentioned above. Mixed by scientist — the master!

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09. Dennis Bovell ‘Jughead’ (Dubplate Mix) [Kingston Connexion]
The second mention of Dennis Bovell, and this time its in the context of a record under his own name. This is the b-side to a 10”. The A-side is another mix of the same track, but there is something about this dubplate mix which is so biting and driving. I always have a soft spot for re-issue records that have been recorded from the dubplate — they certainly have a different sound, and although usually you loose a bit of the lows and a bit of the highs, the degradation of the audio can sometimes add something incredible. I love that about dub and reggae music — a lot of of the textures of sound you hear come from years experimenting the studio, but some of the things you learn to love about it come from the limitations of the moment or the medium…and these limitations can even be exploited for wonderful effect. Its man vs. machine!

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10. Ernest Wilson ‘I Know Myself’ [Hit Bound/Channel One]
One of my favourite tracks to come out on Channel One, and one of my favorite vocal tracks out there — can’t help but bring a smile to my face! And the best thing is that the 10” I have includes four versions of the same track. Perfect! The only thing thats better than listening to it once is listening to four different people’s take on it!

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11. The Mystic ‘Forward With Jah Orthodox’ [Black Art]
One name has been notably vacant from this list so far, and that is Lee “Scratch” Perry. It’s hard to underestimate his influence on all that came after him. This track by The Mystic, produced at Black Ark by Scratch, and is a perfect example of why he is so revered.

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12. Freddie McKay ‘I Am A Freeman’ [Money Disc]
Just a fantastic song. An alternative take to the original, from the album of the same name — the last he made before he died.

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13. Noel Tempo ‘Time To Be Free’ [Iroko]
This song just gets to me every time — its unusual, its extremely soulful, and it has a mixing style that shows that Jamaican mixing techniques are more than just delays and reverbs. Its a very “dry” track. What it lacks in FX, it makes up for in emotion, and channels a little bit of the classic Motown singers like Curtis Mayfield or Otis Redding along the way. This is a great track to play to people who think they don’t like reggae music. Its such a diverse world, and with this mix, I tried to show just a little bit of that. I hope it whet your appetite for me — but trust me, it won’t sound quite right unless it’s on vinyl!

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Greg Gives Peter Space, the new collaborative project featuring Greg Haines and Peter Broderick, will be released on vinyl and download via Erased Tapes on June 16th, 2014.

http://greghaines.co.uk
http://erasedtapes.com

Greg Haines’s latest solo album, ‘Where We Were’, is available now on Denovali.

http://denovali.com

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To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.

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Written by admin

May 13, 2014 at 10:43 am

Ten Mile Stereo

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Inventions ‘Inventions’ (Temporary Residence Ltd)
Inventions is the inspired collaboration between Portland, Oregon-based Matthew Cooper of Eluvium and Mark T. Smith of Explosions In The Sky. Interestingly, Cooper hasn’t been a member of any “band” since he was a teenager; while no member of legendary Texan post-rock outfit Explosions In The Sky has ever released material outside of EITS. The inception for Inventions began when Cooper invited Smith (already longtime friends and labelmates) to collaborate on a song for Eluvium’s double album ‘Nightmare Ending’, released last May via Temporary Residence. Through Inventions, Cooper and Smith’s intriguing eponymous debut album reveals eight majestic tracks imbued with otherworldly sonic terrains steeped in beauty, pain and hope.

‘Inventions’ is available now on Temporary Residence.

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Yann Tiersen ‘∞ (Infinity)’ (Mute)
‘Infinity’ is french composer Yann Tiersen’s latest album and follow-up to 2011’s ‘Skyline’, which set for release this May via Mute Records. Last year Tiersen curated — and participated in — a special centenary celebration of Louis Feuillade’s Fantômas series at the Théâtre de Châtelet, Paris (Tiersen was joined on the lineup by Tim Hecker, James Blackshaw, Loney Dear, Amiina).

‘Infinity’ is released by Mute on May 19th in the UK (May 16th Germany/Australia, May 20th USA/Canada).

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Ryley Walker ‘All Kinds Of You’ (Tompkins Square)
‘All Kinds Of You’ is the hugely anticipated debut album by Chicago’s Ryley Walker, available now via Tompkins Square (William Tyler, Daniel Bachman, Mark Fosson). At only 24 years of age, Walker has already established himself as one of the most exciting prospects as both an accomplished singer/songwriter and guitarist. Recorded in Chicago by Cooper Crain (guitarist/keyboardist in Cave), ‘All Kinds Of You’ features the gorgeous ‘The West Wind’ (previously released as a 3-song 12″ EP last November), while Walker cites the influences of Tim Buckley, Bert Jansch and Tim Hardin.

‘All Kinds Of You’ is available now on Tompkins Square.

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Brigid Power-Ryce ‘I Told You The Truth’ (Bandcamp)
Recorded in St. Nicholas’ Church in County Galway, Brigid Power-Ryce’s ‘I Told You The Truth’ is a gorgeous new set of songs confirming Ryce as one of the most special musical talents on Irish shores. The church-setting and early morning recordings add a warm intimacy to proceedings, while Ryce’s immense talents as both vocalist and musician takes center stage. Across seven heavenly tracks — from the dreamy folk offering ‘Where Are You Tonight?’ to the sublime ukulele-led title-track, the spirits of both Sibylle Baier and Vashti Bunyan are brought to mind.

‘I Told You The Truth’ is available to buy HERE, and listen HERE.

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Teebs ‘E S T A R A’ (Brainfeeder)
The New York-born twenty-six year-old producer and painter Mtendere Mandowa AKA Teebs releases the glorious ‘E S T A R A’ this year, and follow-up to the dreamlike ‘Ardour’ from 2010. In the meantime, Teebs also put out ‘Collections 01’, a compilation comprising a collection of material, often ideas or vignettes, composed by Teebs for the Brainfeeder label (described as “neither EPs or full albums. Just mini collections of ideas..”). ‘E S T A R A’ is fluid, magical, blissful and always wholly engaging and utterly enriching.

‘E S T A R A’ is available now on Brainfeeder.

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Greg Gives Peter Space (Erased Tapes)
Greg Gives Peter Space is the debut collaboration between longtime friends, American songwriter and multi-instrumentalist Peter Broderick and UK composer Greg Haines, whose mutual passion for dub music channeled the spark for their debut mini album, to be released by Erased Tapes this June.
As Broderick has stated: “Greg and I became good friends while both living in Berlin, around 2009 to 2013. We spent countless late nights playing records for each other, dreaming the dream of good music. We talked a lot about collaborating and even put in quite a few hours at each other’s studios . . . but for some strange reason we never seemed to finish anything. Maybe we were just busy enough with our other projects and didn’t feel in any rush. But we certainly had it in mind that we’d like to finish something one day. And we are very proud to say that day is finally here!”

Greg Gives Peter Space will be released on Vinyl and Download via Erased Tapes on June 16, 2014.

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WIFE ‘What’s Between’ (Tri Angle)
‘What’s Between’ is the long-awaited debut LP by James Kelly’s WIFE — best known as the sole permanent member and writer behind black metal outfit Altar Of Plagues — is due out this June on Tri Angle Records (Balam Acab, Forest Swords, Vessel, The Haxan Cloak). Previously, Tri Angle have released WIFE’s debut EP ‘Stoic’, heralding Kelly as a huge new talent and creative force in the electronic music scene. ‘What’s Between’ is produced by WIFE alongside The Haxan Cloak, lie & Roly Porter.

‘What’s Between’ will be released on June 10th via Tri Angle Records.

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Alice Coltrane ‘A Monastic Trio’ (Superior Viaduct)
Originally released in 1968, Alice Coltrane’s ‘A Monastic Trio’ will be reissued via Superior Viaduct this May. ‘A Monastic Trio’ is a milestone record for many reasons: it was written in the year following John Coltrane (Alice’s husband)’s passing; it is also the first recording by Alice Coltrane as a band leader, it’s six original recordings echoing the spirit of her husband. As the late Amiri Baraka writes, “‘I Want to See You’ is a monastic piano concerto. With echoes of Europe…It has a solemnity and majesty to it… Yes, monastic is the word. The piano broods in its earth imagination.”

‘A Monastic Trio’ will be re-issued on 13th May 2014 via Superior Viaduct.

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Rodion G.A. ‘Misiunea Spatiala Delta’ (Strut)
Fresh from the spectacular ‘The Lost Tapes’ set, issued by Strut last year to wide critical acclaim, comes ‘Misiunea Spatiala Delta’, an obscure hidden treasure in Rodion Rosça’s considerable songbook. Available for this month’s Record Store Day as a special limited edition vinyl release, ‘Misiunea Spatiala Delta’ is a long-lost film soundtrack originally written in the early eighties, only to be shelved at the last-minute. As Strut write: “Inspired by early ’80s Star Wars mania‚ Victor Antonescu had first created Misuinea Spatiala Delta (Delta Space Mission) as a domestic animated TV series in 1983. Despite recording a 15-minute prototype score, Rodion’s music was tragically shelved at a late stage, remaining an unreleased oddity in his archive until now.”

‘Misiunea Spatiala Delta’ is available on limited release now on Strut Records.

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Trans AM ‘Volume X’ (Thrill Jockey)
Independent music’s beloved Trans AM release their magnificent tenth studio album this August via Chicago-based label Thrill Jockey. The trio have yet again effortlessly re-defined themselves to wonderful effect. ‘Volume X’ was recorded in spurts over three years, mostly at LCR Studios in San Francisco, and demonstrate the full scope of the immense talents of the legendary trio of Phil Manley, Nathan Means, and Sebastian Thomson.

‘Volume X’ is out 11th August via Thrill Jockey.

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Whatever You Love You Are: Peter Broderick

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Portland Oregon-based composer Peter Broderick will release a special collaborative record with longtime friend — the UK composer and Berlin-based artist, Greg Haines, this summer. The resultant mini-album, entitled ‘Greg Gives Peter Space’, will be issued by Erased Tapes on June 16th. Here, Peter Broderick reveals his newfound passion for Dub music and what has inspired his latest project.

Words: Mark Carry, Illustration: Craig Carry

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I’ve definitely been inspired by pretty much everything I’ve heard on the Wackie’s label…and more recently I’ve been getting into the work of Joe Gibbs. Not to mention classics like King Tubby, Prince Jammy, Augustus Pablo, and Lee ‘Scratch’ Perry. I also love the sideways approach to dub music by Bill Callahan on his latest record ‘Have Fun With God’. The thing I love about dub is how the studio becomes an instrument in itself, and very tangibly so…it’s all about deconstructing songs and piecing them back together again in a very intuitive and playful way. And something about the sound of old analog tape delays is just so warm and beautiful! And funky!

—Peter Broderick

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Joe Gibbs & The Professionals ‘Yard Music’

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Augustus Pablo ‘King Tubby Meets Rockers Uptown’ (Leftside Wobble Edit)

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Prince Jammy & The Aggravators ‘Prince Jammys Magic’

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Lee ‘Scratch’ Perry & Max Romeo ‘Chase The Devil Dubplates’

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Augustus Pablo ‘Power Of The Trinity Dub/West Abyssinia Dub’

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Jackie Mittoo & The Soul Vendors ‘Love Is Blue’

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Greg Gives Peter Space is the long-awaited first collaborative work with Peter Broderick and Greg Haines, which will soon see the light of day (via download and vinyl release on June 16th) 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.

‘Greg Gives Peter Space’ is a six-track mini album which reflects the latest artistic endeavors of Haines and Broderick, who have both been heavily immersed in a seamless array of collaborations in the not-too-distant past. American-born musician and composer, Broderick has long been synonymous with Copenhagen’s Efterklang, in addition to magnificent collaborative works with close friends Nils Frahm and Dustin O’Halloran, to name but a few. British born and Berlin based composer, Haines’s collaborative work includes his ongoing work with the Alvaret Ensemble (whose carefully constructed compositions feature intricate layers of brass, electronics, piano, voice, guitar and percussion) and 2012’s collaboration with the Dutch National Ballet and choreographer David Dawson.

Interestingly, it is the respective artist’s latest solo works which gives traces to the dub-influenced sounds of Greg Gives Peter Space. ‘These Walls Of Mine’ (Erased Tapes, 2012) saw Broderick effortlessly fuse a myriad of genres — soul, hip hop, folk, modern-classical — and the album’s longest cut ‘Copenhagen Ducks’ feels like a distant companion to ‘The Drive’s similarly evolving dub-infused sound. A space and dimension is wonderfully attained. Last year’s Denovali Records LP ‘Where We Were’ (Haines’s most groundbreaking and daring work to date) reveals the British composer’s fascination with dub music (and, indeed, musical experiments) where seamless layers of synthesizers created a resolutely unique body of work. Greg Gives Peter Space feels like the natural next step, where two like-minded artists forge thrillingly new, enchanting sounds.

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‘Greg Gives Peter Space’ will be released on vinyl and download via Erased Tapes on June 16th, 2014.

Tour Dates:
5th June LONDON – Village Underground · Tickets: bit.ly/1eyLl9B
9th June BERLIN – Berghain Kantine · Tickets: bit.ly/1sYgVRT

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http://greghaines.co.uk
http://peterbroderick.net
http://erasedtapes.com

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Written by admin

April 28, 2014 at 11:37 am