FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Peter Broderick

Albums of the Year: 2016

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Presented here is a list of our favourite albums from 2016. As difficult a task as this proved, we decided ultimately to choose the albums that we found ourselves turning back to time and again over the last twelve months. The exercise also reminded me of memories when growing up of reading interviews featuring our favourite musicians, what used to strike me so much was the number of times they would describe their favourite albums as being like “friends” to them. These albums were anything but material possessions, these wax and cardboard sculptures were simply part of their lives: their very identity, even. The following is a selection of sixteen albums released during 2016 which we feel fortunate to now call friends of our own.

Artwork: Craig Carry
Words: Mark Carry

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(i). Oliver Coates – “Upstepping” (PRAH Recordings)

Several ground-breaking records from 2016 can be attributed to the gifted talents of British cellist and composer Oliver Coates. The London-based composer’s sophomore full-length release ‘Upstepping’ is undoubtedly the year’s most accomplished, innovative and compelling musical journeys with its meticulously crafted and sumptuously layered cello-based compositions that carves out techno-fueled waves of pure bliss and transcendence. ‘Upstepping’ is indeed (in the words of Coates) “pumped-up body music”. From album opener ‘Innocent Love’, which immediately evokes the sound of Four Tet’s ‘There Is Love In You’ with its hypnotic female vocal line to the deep house groove of ‘Perfect Love’ (think Autechre, Aphex Twin), a world of shimmering cello-based sound-worlds are being channeled from the cosmos. Coates’s current activity of “distorted cello play over sequenced dance music” (Coates wrote for his exclusive Guest Mixtape) remains the most ground-breaking and original sounds to have surfaced in 2016.

“Upstepping” is out now on PRAH Recordings.

http://www.olivercoates.com/
https://www.facebook.com/olivercoatesmusician/

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(ii). Kaitlyn Aurelia Smith – “EARS” (Western Vinyl)

Last Spring during a conversation with Kaitlyn Aurelia Smith, she described her primary objective for her latest full-length ‘EARS’: “I wanted to create a sense that the listener was on a 3-D motion ride through a futuristic jungle and I had to create an arc from start to finish that took the listener on a journey”. These eight otherworldly compositions created by the L.A. based composer and producer were immediately noted for their extraordinary colours, textures and striking multi-dimensional forms. The rich instrumentation encompasses a myriad of organic and synthesized sounds as Smith’s utterly hypnotic voice melds with her trusted Buchla synthesizer and an intricate array of woodwind and brass arrangements. Cosmic bliss appears at each and every turn: the dazzling mantra of ‘Rare Things Grow’ is steeped in African music traditions; ‘Envelop’s meditative melodic pulses and the epic closing transcendence of ‘Existence In The Unfurling’. Later in 2016 came the equally exceptional ‘Sunergy’ LP – a collaboration between Smith and electronic music pioneer Suzanne Ciani – as part of the RVNG Intl label’s FRKWYS series.

“EARS” is out now on Western Vinyl.

http://www.kaitlynaureliasmith.com/
http://westernvinyl.com/

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(iii). Jóhann Jóhannsson – “Orphée” (Deutsche Grammophon)

This year saw the eagerly awaited new studio album – and first in six years – from the renowned Icelandic composer Jóhann Jóhannsson. Incorporating music for solo cello, organ, string quartet, string orchestra and unaccompanied voices, ‘Orphée’ represents Jóhannsson’s finest hour, whose fifteen divine compositions captured here feels like a distillation of the master composer’s life’s work. The utterly captivating ‘A Song For Europa’ belongs in the same stratosphere as Gavin Bryars’ ‘Jesus Blood’ such is its cinematic brilliance: a spoken word sample becomes embedded deep in the music, speaking so profoundly. ‘A Sparrow Alighted Upon Our Shoulder’ is steeped in unwavering beauty as rejoice and hope flicker onto the horizon amidst a soaring string section (performed by Air Lyndhurst String Orchestra). A lost companion to George Delerue’s ‘Camille’.

In the words of Jóhannsson: “Orphée is for me about changes: about moving to a new city, leaving behind an old life in Copenhagen and building a new one in Berlin – about the death of old relationships and the birth of new ones”. As ever, the Icelandic master composer has crafted a challenging, utterly breathtaking and shape-shifting experience. A piece such as ‘Good Night, Day’ (featuring Jóhannsson’s close musical collaborator Hildur Guðnadóttir) paints life’s fleeting, transient nature onto a vast canvas of enchanting sound, before ‘Theatre of Voices’ (conducted by Paul Hillier) brings ‘Orphée’ to an astounding climax.

“Orphée” is out now on Deutsche Grammophon.

http://www.johannjohannsson.com/
http://www.deutschegrammophon.com/

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(iv). Nick Cave & The Bad Seeds – “Skeleton Tree” (Bad Seed Ltd.)

On lead single – and album opener – ‘Jesus Alone’, a devastating apocalyptic world descends upon us amidst sparse arrangements of piano and brooding synthesizer drones: “You fell from the sky/Crash landed in a field/Near the river Adur.” On Nick Cave & The Bad Seeds’ sixteenth studio album, a captivating, harrowing and deeply moving experience is forged as Cave’s songs navigates the heart of darkness.

The achingly beautiful gospel lament ‘Rings of Saturn’ exudes a healing power, which could belong on ‘The Boatman’s Call’ alongside ‘Brompton Oratory’. Scenes from John Hillocat’s ‘The Road’ (one of the many breathtaking scores Cave & Ellis have penned) is etched across the heartbreaking, tear-stained canvas of ‘Girl In Amber’. On a later verse, Cave mourns: “I used to think that when you died you kind of wandered the world/In a slumber til your crumble were absorbed into the earth.” A brooding darkness seeps into your bones on ‘Magneto’ – the album’s most gripping and intense moments – where buzzes of electric guitar drifts beneath Cave’s whisper-like pleas. The hypnotic mantra of “In love, in love, I love, you love” shares the cosmic spirit of Van Morrison’s ‘Astral Weeks’ ventures in the slipstream. A catharsis permeates the “heaven bound sea” of ‘Anthrocene’ with surreal, near-mythical dimensions somehow attained, which could depict Herzog’s ‘Aguirre, The Wrath of God’s haunting, doomed expedition. The sublime ecstasy of ‘I Need You’ is wrapped in impossible beauty; an empowering ballad that could belong to the ‘Lyre Of Orpheus’ sessions.

Skeleton Tree’ is a lament from the depths of darkness and despair: “With my voice, I am calling you.”

“Skeleton Tree” is out now on Bad Seed Ltd.

http://www.nickcave.com/

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(v). Jessy Lanza – “Oh No” (Hyperdub)

The Canadian songwriter and producer’s sublime sophomore full-length ‘Oh No’ (Hyperdub) showcases an artist at the peak of her powers, crafting some of the most beguiling synth pop creations of 2016 (and beyond). Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the seductive pop hooks and R&B gems crafts a joyously uplifting haven of euphoric sounds. As Lanza says “I want to make people feel good and I want to make myself feel good”. Infectious energy permeates ‘VV Violence’ and ‘Never Enough’ (reminiscent of classic Junior Boys and Caribou) whilst elsewhere the stunning ballads ‘I Talk BB’ (Lanza’s voice ascends to the forefront of the mix) and ethereal haze of closing cut ‘Could B U’. The infectious groove and affecting vocal delivery of ‘It Means I Love You’ crafts one of the record’s defining moments, soaked in reverb and compelling drum machines. Most recently, ‘Oh No No No’ remix EP has surfaced, with gorgeous reworks by DVA (‘Going Somewhere’), DJ Taye x DJ Spinn’s remix of ‘Could B U’ and Morgan Geist’s rework of ‘I Talk BB’.

“Oh No” is out now on Hyperdub.

http://jessylanza.com/
http://www.hyperdub.net/

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(vi). Peter Broderick – “Partners” (Erased Tapes)

The gifted American composer, producer and multi-instrumentalist has crafted his most captivating, emotive and transporting works to date on his latest masterwork ‘Partners’. This collection of solo piano music not only sees the beloved sound sculptor come full-circle in many ways but also delving deeper and further into music’s boundless orbit and life’s great mystery than ever before. In essence, the artist has effectively removed himself from the activities of the sounds he makes, in turn, creating piano music so pure, mysterious and far-reaching, evoking the timeless sounds of older generation masters such as John Cage and Lubomyr Melnyk. Hugely inspired by John Cage’s chance techniques and visionary spirit, Cage’s own composition ‘In A Landscape’ serves the vital pulse to ‘Partners’s aching canvas (having fallen in love with the piano once again during the process of transcribing this seminal piece, note-by-painstaking-note). Compositions such as the utterly transcendent ‘Carried’ unleashes a haven of heart-wrenching emotion as celestial harmonies meld effortlessly with mesmeric piano patterns, and ‘Up Niek Mountain’s drifting cosmic reverb-laden piano tapestries become interwoven deep inside the listener’s thoughts and dreams. The closing ‘Sometimes’ is a cover version of Brigid Mae Power’s divine ballad, the record for which is dedicated to Brigid. A freedom abounds on ‘Partners’ as the sacred piano notes become transcribed from the very composer’s subconscious mind.

“Partners” is out now on Erased Tapes.

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

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(vii). Xylouris White – “Black Peak” (Bella Union)

Xylouris White is the inspired collaboration between Greek lute player George Xylouris and the Australian, Brooklyn-based drummer Jim White. Both composers are legends in their own right, the former through his Cretan lute-led sounds of the Xylouris Ensemble, the latter through his membership of mythical Australian trio Dirty Three and myriad of collaborations over the years. The sheer expanses covered on the band’s sophomore full-length ‘Black Peak’ is staggering. The opening rock opus ‘Black Peak’ and ‘Forging’s momentous rock’n’roll rhythms are followed by the poignant parable of ‘Hey, Musicians!’ and divine epic love song, ‘Erotokritos’. Ancient traditions are interwoven with contemporary, avant-garde musical structures, forever embedded deep inside a mysterious, enchanting and cosmic space. ‘Black Peak’ invites the listener to inhabit the far-reaching plains of life’s mysterious and kaleidoscopic landscape. As depicted on the striking narrative of ‘Hey, Musicians!’, music indeed never ends.

“Black Peak” is out now on Bella Union.

http://www.xylouriswhite.com/
http://bellaunion.com/

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(viii). Loscil – “Monument Builders” (Kranky)

The Canadian ambient artist Scott Morgan’s latest masterwork unleashes a cathartic, hypnotic spell throughout; belonging to a dichotomy of worlds where an engulfing cloud of prevailing darkness prevails in tandem with the radiant light of hope and survival. Delicately beautiful ambient soundscapes drift majestically in the ether alongside the more intense, pulsating sound worlds. Take for example, how the fragile pulses of ‘Deceiver’ flows effortlessly into the glorious crescendo of ‘Straw Dogs’ or how the stunningly beautiful album opener ‘Drained Lake’ is gradually followed with the techno-infused ‘Red Tide’. A wall of intense moods, colour and textures flood these sonic creations, creating one of Morgan’s most accomplished and concise records to date. The addition of horn arrangements (recalling Philip Glass) immediately casts an ethereal quality; harmonies meld beautifully with a collection of old synths, warm textures of drone soundscapes.

“Monument Builders” is out now on Kranky.

http://www.loscil.ca/
http://www.kranky.net/

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(ix). The Avalanches – “Wildflower” (XL)

2016 saw the return of The Avalanches after sixteen years with their long-awaited second album. The pertinent question for the duo was how could a band follow-up a seminal classic like ‘Since I Left You’ but the duo have managed to create a kaleidoscope of rejuvenated, cosmic sounds. An endless array of samples, hip-hop rhymes, lucid beats, celestial harmonies and pop-laden hooks fill ‘Wildflower’s exhilarating voyage where cameo appearances from Mercury Rev’s Jonathan Donahue, Dirty Three’s Warren Ellis, Father John Misty and Toro Y Moi’s Chaz Bundick all stop by. ‘Wildflower’ is one of those perfect summer records: the Laurel Canyon-era sunshine pop of ‘If I Was a Folkstar’ and ‘Because I’m Me’s funky soulful strut and seductive Ariel Pink-esque ‘Subways’ are just some highlights. The heart-stopping ‘Saturday Night Inside Out’s dreamy haze and poignant epicentre serves the perfect closer to ‘Wildflower’s glorious psychedelic pop oeuvre.

“Wildflower” is out now on XL Recordings.

http://www.theavalanches.com/
http://xlrecordings.com/

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(x). Amiina – “Fantômas” (Mengi)

Icelandic outfit Amiina’s latest adventure, ‘Fantômas’, was originally composed as a live score to a silent masterpiece from 1913 (‘Fantômas’ was a French silent crime film serial directed by Louis Feuillade, based on the novel of the same name). Importantly the music stands on its own, independent of the visual narrative that, in turn, marks a brave new chapter in Amiina’s cherished songbook. The band’s Fantômas score is menacing, dark and brooding as it is steeped in delicate beauty and vivid hope. The cinematic opening title-track begins with a slow rhythmic pulse before haunting strings cast an eerie disquiet. The main theme’s melodic motif is masterfully revisited on the sublime ‘Lady Beltham’ before vivid dappling of light ascend on ‘Crocodile’. The closing electronic-oriented ‘L’Homme Du Noir’ explores adventurous new horizons. As ever, immaculate instrumentation of violin, cello, drums, percussion, metallophone, table harp, ukulele, and electronics graces the listener akin to the gradual fading light at dusk or a bird’s majestic flight across vast skies.

The score Fantômas premiered in Paris in 2013 at the prestigious, Théâtre du Châtelet, where Amiina, together with musicians James Blackshaw, Tim Hecker, Loney Dear, and Yann Tiersen, took part in a special Halloween event (curated by Tiersen), celebrating the centenary of the Fantômas series, directed by the French film director Louis Feuillade in 1913-1914.

“Fantômas” is out now on Mengi.

http://www.amiina.com/
http://www.mengi.net/

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(xi). Carla dal Forno – “You Know What It’s Like” (Blackest Ever Black)

The Australian singer-songwriter’s masterful debut solo album ‘You Know What It’s Like’ marked undoubtedly the year’s most dazzling and exciting debuts. Released on the prestigious Blackest Ever Black imprint, lead singles ‘Fast Moving Cars’ and ‘What You Gonna Do Now?’ revealed adventurous avant pop song structures to get beautifully lost in. Forno asks “Did you want this to last a long time?” over a gorgeous haze of meditative bassline grooves and drumbeat on the luminous ‘Fast Moving Cars’. Forno’s voice – a truly formidable instrument – melts and dissolves in the other-worldly pop spheres, conjuring up the timeless sound of ‘Tragedy’-era Julia Holter and Brian Eno’s visionary early 70’s pop gems. A striking emotional depth resides throughout, reflecting on failed relationships, love, loss and the impermanence of it all. Loneliness is etched across the canvas of the album’s title-track, sharing the colours and shades of Miles Davis’s ‘Kind Of Blue’ and Nico’s celestial voice with its yearning, searching feel: “What you gonna do now that the night’s come and it’s around you?” Elements of dub, post-punk, psychedelic folk and avant pop sounds shimmer majestically throughout: from the late 60’s psych folk of ‘Drying In The Rain’ to the dub-infused odyssey ‘DB Rip’s wave of synthesizers. The stripped-back closer ‘The Same Reply’ serves the record’s most breath-taking moments; distilled in lost love.

“You Know What It’s Like” is out now on Blackest Ever Black.

https://www.facebook.com/carladalfornoyes/
http://blackesteverblack.com/

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(xii). Andy Stott – “Too Many Voices” (Modern Love)

The renowned UK producer Andy Stott delivered his highly anticipated follow-up to 2014 classic ‘Faith In Strangers’ in the form of ‘Too Many Voices’ last Spring via the peerless Manchester-based imprint Modern Love. The gifted producer continued to explore new sonic terrain and tap into new emotional depths with gorgeous dub step, electronic, grime and 80’s synth pop flourishes. On Stott’s fourth studio album, breathtaking synth washes of ‘New Romantic’ (with nods to This Mortal Coil) and soulful seduction of ‘Butterflies’ (the record’s lead single) are interwoven with utterly compelling dubstep techno for the dancefloor (‘First Night’) and crystalline ambient chill-wave bliss (‘On My Mind’). The title-track and album closer perhaps serves the record’s glorious climax with masterfully arranged choral harmonies (supplied by longtime vocal contributor Alison Skidmore who appears on half of the record) and euphoric production (think Holly Herndon crossed with the Yellow Magic Orchestra), providing one of the tracks of 2016 in the process.

“Too Many Voices” is out now on Modern Love.

http://modern-love.co.uk/

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(xiii). Katie Kim – “Salt” (Art For Blind)

‘Salt’ sees the revered Irish musician explore deeper into the ethereal dimension, for which she has long ago established. The hypnotic guitar drone of ‘Day Is Coming’ envelops the deepest of fears and anguish, culminating in a swirling symphonic haze of heavenly harmonies and brooding strings. ‘Someday’ is a delicately beautiful piano lament and searching prayer for hope. The striking intimacy and hypnotic spell cast by the gifted songwriter throughout ‘Salt’ unleashes the most deeply affecting batch of songs to have been unearthed for quite some time. Sonically, the latest record is a partnership between O’ Sullivan and producer John Murphy, whose expansive, guttural soundscapes of album opener ‘Ghosts’ and centerpiece ‘I Make Sparks’ are masterfully contrasted with the closing fragile piano ballads ‘Thieves’ and ‘Wide Hand’. One of the album’s defining moments arrives with the pulsating ‘Life Or Living’; a euphoric exploration into the depths of darkness. An image depicted on the second verse becomes the engulfing embodiment of ‘Salt’s realm of raw emotion and blissful transcendence: “Holding my hand now the tides incoming/Make us a shield so the light won’t get in.”

“Salt” is out now on Art For Blind.

https://katiekim.bandcamp.com/
https://www.facebook.com/DANCEKATIEKIMDANCE/

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(xiv). Marissa Nadler – “Strangers” (Bella Union, Sacred Bones)

“Strangers” finds Marissa Nadler’s sonic palette expanding (synths and drumbeats are at times added to Nadler’s voice and guitar). But despite the added instrumentation and more intricate arrangements, a purity forever remains in the treasured songbook of Nadler’s forever timeless oeuvre. Beautiful subtleties exist within the sonic tapestries while striking imagery such as disintegrating cliffs, towering skyscrapers, darkening woods and deep rivers are offset with characters often feeling at odds with the world they find themselves in (or more accurately find themselves suspended into, all of a sudden). There’s a tangible sense of contrasting dichotomies lying at the heart of “Strangers” (between the familiar and the unfamiliar; safety and danger; darkness and light; life and death) which makes the journey Nadler takes us on all the more real. Tangible. Life-affirming. And like a silent witness we can quietly navigate that darkness with her. For we are not strangers after all.

“Strangers” is out now on Bella Union (UK) / Sacred Bones (USA).

http://www.marissanadler.com/
https://marissanadler.bandcamp.com/

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(xv). Brigid Mae Power – “S/T” (Tompkins Square)

Brigid Mae Power’s stunningly beautiful latest solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album is about “trusting if you lose yourself or your way — you can come back.”

Such is the album’s timeless brilliance, the nearest parallels that can be drawn to Power’s quietly unassuming, divine artistry are those blessed folk spirits of bygone times such as Sibylle Baier, Tia Blake or Margaret Barry. As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.

“Brigid Mae Power” is out now on Tompkins Square.

http://brigidmaepower.com/
http://www.tompkinssquare.com/

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(xvi). Syrinx – “Tumblers from the Vault (1970–1972)” (RVNG Intl)

A collection of experimental synth music culled from the early 70’s Toronto music scene is beautifully celebrated by the ever-indispensable Brooklyn-based RVNG Intl label on the shape-shifting, genre defying musical document, ‘Tumblers From The Vault (1970-1972)’. The band in question are the avant-garde three-piece Syrinx whose wholly unique hybrid of chamber pop and electronic experimentation crafts an utterly timeless journey into the limitless possibilities of music. The dreamy, lo-fi gem ‘Hollywood Dream Trip’ remains as vital and fresh as the day it was recorded. The sprawling epic ‘December Angel’ dumbfounds the listener in its sheer beauty and compelling sound: a piece of music from some future age, unknown and mysterious all at once. Psychedelic flourishes are etched across the more electronic-oriented ‘Ibistix’; the amalgamation of distorted voices and cosmic strings creates a symphony of rapture and transcendence.

Syrinx consisted of composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by ‘Long Lost Relatives’, which is highlighted as the first album on Tumblers From The Vault. Re-issue of the year, hands down.

“Tumblers From The Vault (1970-1972)” is out now on RVNG Intl.

https://igetrvng.com/syrinx-tumblers-vault/

Designs for the first ten albums are by Craig Carry, a limited edition series of screen prints (each edition is limited to 25 copies) have been created to coincide with Fractured Air’s favourite albums of 2016. Prints will be available to purchase online from January 2017. 

With very special thanks to each and every one of our readers. Wishing you all a peaceful and happy new year.

https://fracturedair.com/

Fractured Air x Blogothèque – S01E08 | August mix

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We’re proud to present an exclusive unreleased track by Christina Vantzou for August’s mixtape.The Kansas City-born and Brussels-based composer has released three solo full-length LP’s to date (‘N°1’, ‘N°2’ and ‘N°3’) via illustrious Chicago-based independent label Kranky.

Vantzou’s formidable body of work also spans the mediums of both visual art and film-making while her own music career began with duo The Dead Texan (alongside Adam Wiltzie) as the hybrid role of keyboardist/animator/video artist. The pair released their debut self-titled album in 2004 via Kranky. Through her preferred composing set-up of laptop, midi keyboard and headphones and an ever-present curiosity and tireless passion for exploring new sonic territories, Vantzou is among the the finest contemporary composers making music in the modern classical realm today.

Also featured on August’s edition are selections from the awe-inspiring Guerssen Records, a record label based in Catalonia, Spain. Set up in 1996, Guerrsen’s ever-expanding catalogue specialises in the reissuing of rare and obscure psychedelic, progressive, folk and garage albums from the 60s to early 80s.

Featured here are tracks from Paul Martin’s mid-sixties timeless opus “It Happened”; We The People’s fascinating compilation “Visions of Time: Complete Recordings” (a 60s teen band from L.A. who also recorded 45s under the American Zoo alias) and Oberon’s “A Midsummer’s Night Dream”, a classic in the British psych-folk genre (it was originally released in 1971 as a private edition of only 99 copies).

August’s mixtape also features new releases from MJ Guider’s stunning debut album “Precious Systems” (Kranky), hype williams’ “10/10” (Bandcamp); the return of legendary duo Xylouris White (Australia’s Jim White and Greece’s George Xylouris) with “Black Peak” (Bella Union) and Peter Broderick’s latest masterful record, “Partners” (Erased Tapes).

Fractured Air x Blogothèque – S1E8 | August mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/08/29/fractured-air-x-blogotheque-s01e08-august-mix/

 

Tracklisting:

01. Christina Vantzou“juno loop 200 BC” (Unreleased)
02. Tomorrow The Rain Will Fall Upwards“…And I Tried” (Blackest Ever Black)
03. Spiritualized“Let It Flow” (Dedicated)
04. The Velvet Underground & Nico“Venus In Furs” (Polydor)
05. Dirty Three “Furnace Skies” (Anchor And Hope / Bella Union)
06. Xylouris White“Black Peak” (Bella Union)
07. Trader Horne“Jenny May” (Earth)
08. Dieterich & Barnes“Parasol Gigante” (LM Duplication)
09. Kamuran Akkor“Kabahat Seni Sevende” (Pharaway Sounds)
10. Mulatu Astatke“Nètsanèt (Liberty)” (Buda Musique)
11. The Avalanches“Because I’m Me” (XL Recordings)
12. Kamasi Washington“Change Of The Guard” (excerpt) (Brainfeeder)
13. hype williams“DIVA” (Bandcamp)
14. Jenny Hval“Female Vampire” (Sacred Bones)
15. MJ Guider“Triple Black” (Kranky)
16. Julian Winding“The Demon Dance” (The Neon Demon OST, Milan)
17. Rival Consoles“Lone” (Erased Tapes)
18. Bibio“Wren Tails” (Warp)
19. Benoît Pioulard“Layette” (Kranky)
20. Roj – “Attaining The Third State” (Ghost Box)
21. Oberon“Nottamun Town” (Guerssen)
22. Georges Delerue“Au Revoir Mon Amour!” (Cartouche OST, EmArcy)
23. We The People“Back Street Thoughts” (Guerssen)
24. Robert Wyatt“At Last I Am Free” (Rough Trade)
25. Jóhann Jóhannsson“Flight from the City” (Deutsche Grammophon)
26. Peter Broderick“Up Niek Mountain” (Erased Tapes)
27. Glenn Jones“Spokane River Falls” (Thrill Jockey)
28. Brigid Mae Power“Sometimes” (Tompkins Square)
29. Fiona Brice“Glastonbury” (Bella Union)
30. Paul Martin“This Is The End” (Guerssen)

Compiled by Fractured Air, August 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

Fractured Air x Blogothèque – S1E7 | July mix

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fracturedairmix_july16

July 2016 opened with world-renowned German composer Nils Frahm’s magnificent “Possibly Colliding” weekend of music at the Barbican Centre, London. Curated by Frahm, the special lineup featured live performance, conversation and film screenings where the headline act was Frahm’s monumental sold-out Barbican show, comprising his “most ambitious concert to date.”

Possibly Colliding felt not only like a celebration of the visionary artist’s cherished songbook (thus far) but rather a distillation of the most ground-breaking moments of today’s contemporary music scene. The angelic, hushed solo piano pieces were interwoven with the sprawling and sublime synthesizer-led pieces and many live collaborations – cellist Anne Müller, Nonkeen (with the addition of gifted drummer Andrea Belfi), London-based vocal ensemble Shards, and the André de Ridder-led stargaze ensemble – rendered new versions of Frahm’s towering body of work and offered new insights into the gifted composer’s sonic sphere.

During July we were delighted to be invited to participate in Irish actor Cillian Murphy’s curated IMMA Summer Party happening at the grounds of the Irish Museum of Modern Art at the Royal Hospital Kilmainham, Dublin. Murphy’s music lineup featured performances by celebrated German composer and pianist Hauschka, gifted Irish fiddle player and composer Caoimhín Ó Raghallaigh and Irish-based indie band Meltybrains? Some selections from our DJ set appear in this month’s mixtape.

Limerick-born and London-based composer Áine O’Dwyer has long been one of our most cherished and favourite contemporary musicians. O’Dwyer has released records on such independent labels as: Mie Music, Second language and Fort Evil Fruit, while her versatile talents are evident in her rich and varied recorded output to date, which have featured: live recordings for pipe organ, music for harp and voice and music for solo piano.

This year’s Le Guess Who? festival features special guest curators – including the inimitable L.A. songwriter Julia Holter – who has invited Áine O’Dwyer to this year’s lineup in Utrecht which takes place on 10–13 November 2016.

Fractured Air x Blogothèque – S1E7 | July mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/07/27/fractured-air-x-blogotheque-s01e07-july-mix/

 

Tracklisting:

01. Woodkid & Nils Frahm“Winter Morning II” (with Robert De Niro) (excerpt) (Ellis OST, Erased Tapes)
02. Peter Broderick“Carried” (Erased Tapes)
03. Nonkeen“Diving Platform” (R&S)
04. Mary Lattimore & Jeff Zeigler“A Road” (Thrill Jockey)
05. Áine O’Dwyer “Falcon” (Second Language)
06. Jherek Bischoff“Headless” (The Leaf Label)
07. Agnes Obel“Familiar” (Play It Again Sam)
08. Jonny Greenwood (Copenhagen Phil, André de Ridder)“Future Markets” (There Will Be Blood OST, Deutsche Grammophon)
09. Radiohead“Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief” (XL Recordings)
10. Kedr Livanskiy“Razrushitelniy Krug (Destructive Cycle)” (2MR)
11. Lil Silva “Jimi” (Good Years)
12. DJ Shadow“The Sideshow” (feat. Ernie Fresh) (Mass Appeal)
13. Underworld“I Exhale” (Universal Music Group)
14. Floorplan“Music” (M-Plant)
15. Róisín Murphy“Simulation” (Permanent Vacation)
16. Hot Chip“Night and Day” (Daphni Mix) (Domino)
17. Junior Boys“Big Black Coat” (Robert Hood Remix) (Jiaolong / City Slang)
18. Peder Mannerfelt“Perspectives” (Peder Mannerfelt Produktion)
19. Aphex Twin“CHEETAHT2 [Ld spectrum]” (Warp)
20. Ólafur Arnalds“RGB” (LateNightTales)
21. Julianna Barwick“Someway” (Dead Oceans)
22. Julia Holter“Finale” (Leaving / Domino)

Compiled by Fractured Air, July 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

Chosen One: Nonkeen

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Interview with Frederic Gmeiner & Sepp Singwald (Nonkeen).

“I think these are the moments which we are searching for where you dissolve in the music with the others.”

—Frederic Gmeiner

Words: Mark Carry

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In the liner notes of 2011’s ‘Felt’ full-length, Nils Frahm describes how “the music becomes a contingence, a chance, an accident within all this rustling.” It is precisely this important factor – the role of chance – that lies at the heart of the many monumental works of the Berlin-based composer, not least the latest awe-inspiring project, dubbed Nonkeen – unveiled at the beginning of 2016 – with his childhood friends, Frederic Gmeiner and Sepp Singwald.

The trio’s shared fascination with the powerful possibilities of sound would mean their childhood days were spent experimenting with tape machines, whose inception was the birth of a playground radio show in the suburbs of Hamburg. The utterly beguiling debut full length release, ‘The Gamble’ – released on the prestigious R&S label – unfolds a divine pathway to notions of space and the cosmos. The hypnotic lead single ’Chasing God Through Palmyra’’s looped electronic beat offered the first glimpses into the other-worldly sound world of Nonkeen. The dazzling cut could have been taken from Scottish duo Boards of Canada’s ‘Geogaddi’ LP such is its eternal magical bliss.

A parallel that bridges Nonkeen and the renowned electronic producers is their (shared) compulsion to “uncover the past inside the present”. An entire spectrum of sounds – jazz improvisation, pop hooks, electronic mastery, ambient flourishes and post-rock euphoria – awakens from the very compositions captured on ‘The Gamble’ and its eagerly awaited (and appropriately titled) follow-up, ‘The Oddments of the Gamble’.

The shimmering seas of summer are somehow transplanted across the sprawling canvas of ‘Diving Platform’, one of the band’s crowning jewels (taken from ‘The Oddments of the Gamble’). A gorgeous haze of reverb-soaked Rhodes and pristine electric guitar tones (supplied by special guest guitarist Martyn Heyne) dissolves into a myriad of fleeting moments as waves of transcendence washes over you. The pulsating ‘Glow’ contains a deep groove and shape-shifting rhythms that feel like remnants of a faded dream. Elsewhere on the record, trusted friends & collaborators, Andrea Belfi, Peter Broderick and Martyn Heyne each add their distinctive musical hand-print to the trio’s scintillating odysseys.

Nils Frahm’s sold-out Barbican show earlier this month – as part of the captivating ‘Possibly Colliding’ marathon weekend, curated by Frahm – felt not only like a celebration of the visionary artist’s cherished songbook (thus far) but rather a distillation of the most ground-breaking moments of today’s contemporary music scene. The angelic, hushed solo piano pieces were interwoven with the sprawling and sublime synthesizer-led pieces and many live collaborations – cellist Anne Müller, Nonkeen with the addition of gifted drummer Andrea Belfi, London-based vocal ensemble Shards, and the André de Ridder-led stargaze ensemble – rendered new versions of Frahm’s towering body of work and offered new insights into the gifted composer’s sonic sphere. Nonkeen is one vital part to this sphere wherein Frahm and his close friends continue to blur the boundaries of what is attainable. Perfecting sound forever.

 

‘The Oddments of the Gamble’ is out on 15th July 2016 via R&S Records.

http://www.nonkeen.com/
https://www.facebook.com/nonkeen/

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Interview with Frederic Gmeiner & Sepp Singwald (Nonkeen).

I’d love for you to discuss the wonderful story behind Nonkeen – and how you’re all childhood friends – and your experiments with sound using tape recorders and your shared fascination with sound?

Frederic Gmeiner: From the material on ‘Oddments of the Gamble’ and ‘The Gamble’, the oldest tape is maybe eight years old that we used for the albums now. But before we were also playing together but very loose – just in the rehearsal space when we had time to play together. So in the evening somebody would call, ‘do you have time tomorrow? So let’s meet. Is the room available? Yes, it is, so let’s go there and play’. So, over the years the rehearsal spaces changed because we had to leave one in a hurry because the owner wanted to do something in the building and stuff like that. So you might call it also accidents that happens which you have to deal with but we always kept on being inspired by this band. But we didn’t even call it a band because it wasn’t such a thing; we never organized a concert for example – friends were inviting us and I don’t know how old we were, we were very young – when we were playing together from time to time and people knew you were playing in a band so they asked ‘do you want to play here and there?’ and so it happened.

I could see also how when we were younger, we were maybe not fearless but we didn’t think much about it. We were playing the stuff that we were inspired by or listening to anyhow and since it was a Fender Rhodes, 70’s amp and electric bass and 90’s drums with the 70’s sound – drum set drums [laughs] – and we were playing music that when we were listening to it, you could pretty much tell what the influence was straight away like this sounds like Soft Cell for example. We found it like crazy music and automatically we were eager trying this out and topping each other you know and trying to show off in a way. But over time by listening to the stuff that we recorded – I mean at the beginning we never recorded rehearsals we were just recording when we were playing live – and then listening back to it, it was always nice but you could always tell like “oh, this sounds like this, for example” and so over the years we got more and more defined in finding your own sound.

We were curious about these moments that we kept on tape where we were saying like “I don’t remember us playing that actually” and “I don’t know, when was it? Five years ago?What instrument is it? Who’s playing that?” And also the music and these moments, somehow I can’t get it out of my head and you’re listening to it back and back. We never took it out with us home, we always just listening all three of us together when we were meeting. I mean sometimes there might have been a month in between when we were listening to the stuff but we were then picking again these passages up when we were all saying “From the last session I remember this” and “Yes me too, and it was somehow stuck in my head” so it all came together somehow.

It’s cool how it was almost like a listening exercise where you build a library and subconsciously in a way, you’re agreeing on a certain direction or type of sound. I can imagine that was either the most difficult part of perhaps most exciting? Also, I wonder would you be adding counterpoint sections present-day to recordings that you had made previously?

FG: It is hard in a way to come to a mutual agreement, it is true but we had time and there was no target; none of us were even thinking of making an album while doing that. It was just out of curiosity so that was easy in a way. But of course if you’re going to have a record contract back then which would say ‘next year you have to do an album’ that would be problematic of course. It would be much more like ‘OK guys, I know you don’t like this but let’s go for it, you know’ but it wasn’t like that.

Sepp Singwald: We didn’t analyse it so far that we’d have to find a counterpoint to this or to that. We always played what we wanted to play and in the very, very end after eight years we combined it.

‘Chasing God Through Palmyra’ is a very special recording of yours [from ‘The Gamble’]. Deconstructing it, is that a sample that is looped continually throughout?

FG: Yes, it’s all from the rehearsal space and from the tapes. We were playing around with the material in a way that we were more sequencing stuff. There was a drum machine running in the rehearsal space, it was just there and so we were plugging it in and trying it out.

SS: So we had a Gretsch and made it loud.

FG: Then putting it on a big tape machine to basically use it as just a compressor but we pitched it down so it became this wobbling, moogy, tribal-ish, techno-ish thing which we were inspired by. But all of these things coming together was a real coincidence and we could never re-do this. That’s also why on tour it was problematic to play this. For us we were really confronted with a decision, shall we play it or not.

SS: Should we try best to be as a computer?

FG: Exactly because without the drum track – without the electronic drums – it would lose its preciseness and none of us are playing like a machine so we had to compete with a machine basically. It was very frustrating for us to put on a beat and just play synthesizers so we said ‘we’re not playing it’. But we were thinking it’s a nice track, people know it so we should somehow play it. So then we came up with the idea to put it on a record onstage so in the middle of the set in the front of the stage there was a record player and we were setting up the record and serving drinks to the audience and making maybe a few foolish jokes but then we would continue to play the songs [afterwards]. I mean it’s unconventional – you might also say why are you doing this? – but it’s exactly the reason why we did it because we wanted to play it but we didn’t want to compete with a machine onstage and lose [laughs]. And being so over-concentrated on following it and being precise because it is the preciseness that makes electronic music is just one example.

It must have been a totally new perspective for you when it came to touring and playing live shows? And also how the trio was joined by Andrea Belfi on drums, it must have added new elements and perspectives when the group were now a four-piece?

FG: I mean for the first time in playing together, we were confronted with a situation that we had to practice, that we had to prepare something for playing and not just for a single evening but for twenty evenings in a row. So we couldn’t use our method that we used before saying like OK let’s maybe define a little bit and go onstage and play together because it would be way too intense to – and way too long also – to come up every night with this uncertainty and play with it. Maybe it’s also possible, I don’t know. On the other hand, if we were to completely streamline it and plan it until the last sound and note and moment, maybe it would become boring for us and also for the audience, it’s always like that.

So we were looking at it because we knew the songs also so well after working with them for such a long time – not playing them but just listening to them, editing them and making overdubs – they were inside us already, we could just make interpretations of them. That worked very well I think and it also helped us as a band to deal with more diverse situations because every night is different, every room is different, the spirit, the mood of the audience: are they sitting or are they standing, are they more reserved, it makes something with you. Also does it feel like in a rehearsal space on a small stage or is it a huge hall where you have big reverb and you don’t hear each other very well. Things like that and all these situations helped us a lot I think. Now I am very curious to go back to the rehearsal space after that experience and that learning process.

I love also with these two albums is the wide range of sounds and influences, there’s jazz, post-rock, electronic, ambient, krautrock that all really effortlessly ebbs and flows into one another. The sequencing of the albums was also an important factor I imagine?

FG: Also what I think developed from the live set was exactly these counterpoints and to sometimes let loose and have moments where you don’t know really yourself where you are and you just have to let yourself fall down and trust that all will turn out good in the end. And there are more parts that are more defined and precisely arranged. But I think it is right – I see it as well – I think a single track doesn’t make much sense but it’s always the combination of them and how you put them together which makes it interesting.

I love how the new album represents an entirely new chapter too. It doesn’t feel like a sister album but rather it feels like a new point in time. For example, the lead track ‘Diving Platform’ with the gorgeous guitar parts, it feels more direct and immediate.

FG: It’s more easy-going I would say. We always have this vision of a perfect summer day, driving a nice car or a bicycle in the countryside and the wind is coming and you just want to dive.

SS: It was with the first bass drum you see someone jumping from a diving platform into a lake.

FG: I think most of the sessions we had because when we went into the rehearsal space we didn’t know what would happen and often I mean you have other things in life and sometimes you have a good day and sometimes there are bad days, sometimes you are more energetic and sometimes you are a bit more tired, sometimes you’re patient to listen to something, sometimes you’re not. It was like a meditation thing and often sessions were sounding more like the music I think on ‘The Gamble’ but there were some sessions that were more like on ‘Diving Platform’ for example. This is like an excerpt; we were playing it for like thirty to forty minutes and there was this thing developing. And it always starts like that; someone is playing a beat or on the Rhodes or on the synthesizer or the bass and you all just start.

SS: It came up by fooling around and just make some fun but then OK we’re really playing this kind of track so let’s go for that and I had a big moustache in my mind and we are all smiling.

Do you think it was a difficult decision to release the second album so quickly after the first one and to decide on what goes onto it?

FG: As I said, we didn’t plan to release an album for such a long time – we didn’t even have a name – and then this all happened and we were all wowed by this warm reception and the feedback and now with this live tour that we thought let’s also share this other album basically and not to wait. And of course strategically or marketing-wise, I don’t know maybe you should wait or whatever and no one told us that so it was more like it’s great, I might like it even a bit more than ‘The Gamble’ [laughs] so let’s release it and so that’s basically how it was, nothing more or less. But I think that’s also good not having something in the drawer to hold back and you’re always waiting until this gets out. You put it out and then you have no cards left, you have to make new cards that you can play.

SS: And even to wait another seventeen days feels long. Actually because it is there, it’s got a cover, I want everybody to listen to it and get the feedback.

FG: It is strange because back then we didn’t have anything on vinyl or cd or to download or to sell, if someone was interested, we would just give them some music for friends, so now there’s a release date and it’s all interesting. But this is also new for us because it makes it more a band of course, this process like doing interviews and preparing for a tour, touring and doing band photos and stuff like that and thinking about music videos. It’s all great and fun but it’s not making music [laughs], it’s something else, you know. It’s new for us in that context, I mean everyone has their other projects. Seeing it also sometimes a bit sceptically, thinking will our innocence be gone afterwards? But I think going back to the rehearsal space and taking time because that is what it is; it’s a gift for all of us, we all have other things in life where we make a living out of it but Nonkeen is not about that. Luckily we have all the time in the world, if it takes ten years now for the next album and to go on the next tour but you don’t know, chance will tell.

I love how there is that DIY ethos at the heart of Nonkeen too where there is nothing pre-conceived or anything like that. And as you said, it’s completely music you’re just making for yourself without ever considering the audience?

FG: I mean it’s really like that. When we had the tracks and we were saying: “Oh this is finished and we don’t have anything to add” but really we had no idea if other people would like it or not. It’s different to say oh it’s OK to like something, it’s really interesting. It took so long like distilling alcohol again and again just to get the essence which was for us because it was so close to our heart always, we were taking our time and working on it as long as it needs without any rush. But you don’t know how others would perceive it and for us I think the most wonderful thing was and is, what people hear in it because I would always love to listen to that music without having heard it before. For the first time if someone played this to me and said, here have you heard this, listen to it but that’s not possible because you know that stuff but that must be great somehow.

SS: It’s like standing onstage and playing, I would often like to ‘snap’ and sit in the audience and see everything and listen.

FG: It’s really, really great and we’re really happy about it that there is so many people listening to it and also come up with so many references and often also very true. And often people say Boards of Canada, it’s a huge influence on us but it’s other instruments and stuff. Of course it’s maybe inherent in the music because we are so inspired by them but if someone had asked us ‘how does your music sound’, we would never say ‘yeah like Boards of Canada’, we would never think about this association. For me of course, it is so far away somehow but it is a great honour and it is what it is, we are all inspired by things.

There’s something special about a trio. I wonder would you ever individually come up with something like a sketch or idea and then come to the rehearsal space where the three-piece would flesh it out?

FG: I think that when we go to the rehearsal space – I mean except now preparing the tour but all the years before – it’s really interesting that we never really talked about music, I mean we didn’t talk about our music. It was never like ‘hey guys, I have this song, let’s play this’ or ‘I think we should sound more like this’. It never happened because I think we would have failed [laughs]. It’s more I think of finding a style in the way of making music together that we all feel comfortable with, technically and emotionally and seeing it as a whole thing basically. I think these are the moments which we are searching for where you dissolve in the music with the others. In that moment you don’t think anymore, it’s just this and you’re completely enjoying it. And then when you listen back to it a year later, you couldn’t even remember that moment where we’re like, is it us playing this?

It’s a very intimate thing but I think these moments you can’t plan, it’s as simple as that and I think we realized that from a very early stage. For all of us it is the most important thing that we will have is continuing these moments, no matter what. No matter if we release any albums or going on tour because this is the most important thing, to play together and Nils has so many other projects and you [Sepp] also, it’s not about not being able to play. But I think what we are always curious about is finding these moments where you dissolve and where it’s not about you, it all has to work as a whole thing, it becomes its own creature somehow.

And that’s the thing too where it’s not the first album in isolation. Suddenly you have a body of work now quite quickly, there’s a narrative now flowing and where you can see down the line nearly. I loved the 12″ vinyl release too where you can pick the desired speed to play the tracks on.

FG: I mean in the end again like with that decision why would you put both tracks on a single but it’s because of that; it happened by playing around with a tape machine and by pitching it and this is something you can also do with a turntable or record player, so why not using the medium and giving it out to everyone to try it out. It is really about always deciding on what makes sense. And now with these two albums we made a trajectory that we have to follow because that is a style that everyone is expecting. I don’t know but maybe the next album will be something completely different. Let’s see.

‘The Oddments of the Gamble’ is out on 15th July 2016 via R&S Records.

http://www.nonkeen.com/
https://www.facebook.com/nonkeen/

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July 14, 2016 at 2:17 pm

Central and Remote: Brigid Mae Power

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Interview with Brigid Mae Power.

What generally happens with me is that I seem to live life, soak everything in like a sponge and then after a few months everything comes pouring out.”

—Brigid Mae Power

Words: Mark Carry, Photographs: Peter Broderick

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In the liner notes of Sibylle Baier’s treasured folk opus, ‘Colour Green’, the German songwriter’s son Robby Baier writes: “My mother’s music is simply amazing in its intimacy and closeness.” I feel these precise words perfectly describe the similarly magical and empowering music of Irish singer-songwriter, Brigid Mae Power and particularly reflected on Power’s (self-titled) masterpiece recently released on the prestigious U.S. label Tompkins Square.

A quality always vividly present in Power’s songbook has been how her personality shines through in the music whereby an honesty and purity simmers beautifully in her fragile folk explorations. In much the same way as Sibyl Baier’s ‘Colour Green’ LP, Power’s deeply moving body of work portray intimate portraits of life’s sad and fragile beauty.

Brigid Mae Power’s stunningly beautiful new solo full-length – and Tompkins Square debut – is an album drenched in reverb-soaked emotion and lament. Enchantingly performed and produced, the record showcases a songwriter of immense talent in a soundscape that naturally merges itself to Brigid Power’s engulfing sound. The magic lies in the songwriter’s expression of raw emotion, in all its delicate beauty. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album is about “trusting if you lose yourself or your way — you can come back.”

The seeds were sewn for the album after playing a string of UK & Irish shows with esteemed American songwriter and musician Peter Broderick during May 2015. Peter invited Brigid to record a batch of new songs in his Portland home studio, The Sparkle, along the Oregon coast. The Irish musician finished writing this collection of songs in June ’15 just before the recording sessions would take place in the early summer. The new record boasts an impeccable sound quality in which Power’s mesmerizing voice lies in the forefront of the mix. “I craved having my voice sound larger but more intimate,” Brigid explains. It is abundantly clear upon encountering Power’s newest work that there is a newfound confidence permeating throughout the songs, augmented by Broderick’s intuitive musical direction, which in turn helped the songs evolve. All songs were written by Brigid Mae Power, performed by Brigid and Peter Broderick and recorded, mixed and mastered by Peter Broderick at the Sparkle.

The album’s epic opener ‘It’s Clearing Now’ serves the ideal prologue to the record’s intensely powerful and moving journey. Initially recorded live with Brigid on guitar and Peter Broderick on drums, new layers of violin and meticulously crafted sonic elements were added by the American producer. Some of the songs such as ‘Is It My Low or Yours’, ‘Let Me Hold You Through This’ and ‘How You Feel’ were written very quickly, during the month before Brigid embarked on the transatlantic trip to The Sparkle. The others, mostly the deeply-affecting piano-based ballads (‘Sometimes’, ‘Lookin At You In A Photo’, ‘Watching The Horses’) – are comprised of old melodies the Irish musician had been playing for years but had never put lyrics to.

A wave of inspiration abounds the sprawling canvas of sound, mapping the rawest of emotion and deepest of fears. A mystical spell is cast by the meeting of these two kindred spirits: Brigid Mae Power’s songwriting prowess and Peter Broderick’s deep musical understanding. Asked about the creative process, Brigid explains, “It’s a mystical thing for me, I don’t usually remember when or where I write something or when I finish a song. It just appears.”

If ever the spirit of a record is distilled in one single song it is ‘Watching the Horses’, the album’s scintillating penultimate track. As Power’s achingly beautiful vocal refrain of “I am free” ascends into one’s heart and mind, the Irish songwriter’s masterwork chronicles brave new beginnings amidst a rejuvenated spirit. The changing of your whole outlook on life. Transformation.

As reflected in the lyrics of closing heartfelt lament of ‘How You Feel’, this deeply personal and intimate set of songs become a place of hope and solace where the path laid out in front you is filled with the light of day and sea of love.

‘Brigid Mae Power’ is out now on Tompkins Square.

 

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Interview with Brigid Mae Power.

Please discuss these batch of new & delicately beautiful new songs, Brigid and indeed the space and time in which these songs blossomed from? Also, I wonder were the majority of the songs initial sketches prior to the Sparkle sessions or was it a mix where some were very much fully formed whereas others took on this life of their own upon the recording sessions?

Brigid Mae Power: I finished writing these songs in June ’15, just before I was to fly out to Portland, Oregon to go and record with Peter. Some of them, such as ‘Is it my low or yours’, ‘let me hold you through this’, and ‘how you feel’, were written very quickly and in the month before I went out. The others, mostly the piano ones, were old melodies I had been playing for years but had never put lyrics to them. I had been procrastinating for years with them and then in May I really buckled down and forced myself to finish writing them so that I would have them ready to record out at The Sparkle. So I had them all ready and written before I went out.

Writing at the moment, but maybe that might change, is quite a private process for me, so I wanted to have them ready to record for when I was out there. So yes they were all fully formed, lyrics and melodies etc. But Peter added a lot to them after I had left and helped them evolve.

What is the common theme or narrative that you feel bridges all these songs together on this record?

BMP: Hmm a theme or narrative. I guess I will just throw some words out here – Transformation. Change. Acceptance. Transcending. Healing. Healing from trauma. Not letting past incidences and feelings/ideas/judgements others and yourself have about you define you.  Moving on. Strength. Courage. Trust. Moving past negativity and hard times. Trusting if you lose yourself or your way you can come back. Sensitivity. Getting rid of guilt. Being a single mother. Clearing out old things/habits/patterns before you start a new with someone else. Feeling connection with life. Appreciating being alive.

Following on from ‘I Told You the Truth’ ep, it’s abundantly clear the new music comes from a different place: new perspectives and a different outlook on all matter of life’s happenings seem to flicker across the horizon as a confidence and striking immediacy comes very much to the fore. What were your main concerns for this new record in terms of the sound and feel you wanted to create?

BMP: I guess my first and foremost intention was to have a good sound quality. I used to just record myself with a handheld recorder in a reverberant room. Which I do like the sound of but I craved having my voice sound larger but more intimate. My ears are sensitive to how I like a recording to sound, and sometimes I preferred it almost to sound of lesser quality than too squeaky clean. But when I heard Peter’s voice on his recordings I knew that he would instinctively know what sounded good for me and how to have my voice sound. I didn’t need to explain at all to him, he just knew, but even when I was trying to explain to him, sometimes through just a feeling, he knew what I meant, it was like he spoke my language. It’s hard for me to describe things in words a lot of the time, but especially creatively so I was really lucky to have Peter speak my language!

The epic opener is the ideal prologue to the album’s intensely powerful and moving journey. I recall Peter describing the many listens/playbacks of this track in order to get the layering right. Discuss the construction and gradual formation of this stunning torch-lit ballad?

BMP: Well, I can’t remember exactly when I finished that song but I remember I wrote it when I was sitting in my car staring at the sea and just had a strong feeling of leaving behind a feeling of being stuck. I had gone on tour with Peter in May and came back, and I felt hugely inspired from meeting him. It opened my mind to possibility, so much, and I saw how I had been limiting myself previously in my thinking.

When we recorded it, we just recorded it live me on guitar and Peter on drums. It felt really special when we were playing that song. But what he did after to it was just so incredible and how I had envisioned it to sound without expressing it to him at all. He worked on it when I had gone home. So I don’t know the in’s and out’s of what he added, but I think a lot of violins and a lot of tiny sounds that you wouldn’t notice but have a big impact.

The sparse piano ballads are some of the most poignant moments. ‘Sometimes’ is vintage Joni Mitchell or Marissa Nadler for example. The piano is an instrument I always wanted to hear more in your recordings so it was such a delight to witness the beauty unfold as the delicate piano notes meld with your voice. What are your feelings on these piano laments Brigid? Were there challenges as to how you wanted each song to sound e.g. the arrangements and how full or conversely how bare a recording should be?

BMP: These songs are the first I have written for piano and voice, I love playing it and singing. I guess I gravitated towards writing with guitar for a long time because it’s easier to play live!

I had those songs ready when I went out there… we recorded them in a guy named Corey’s studio in Portland. I made the guys stand out of the room because those songs were very intense for me to sing! I just wanted them to sound how they did live really; I didn’t necessarily want anything added but I was open to suggestion. Peter added a lot to ‘Watching the Horses’ after.

How bare a recording should be – I’m generally a less is more kinda person, and I prefer the feeling that is captured. But there is a place for everything and I like a balance of having some things bare, some things not so bare, some things with a minimal thing added. In ‘Sometimes’ Peter adds the tiniest sound in it that gives the song so much! So much that when I play it on my own now I’m missing that tiny little beepy sound whatever it is…

Can you recount for me the experience of working closely with Peter and the daily routines at the Sparkle & Portland itself? What are the memories you cherish and the proudest aspect to this stunning body of work you feel personally?

BMP: Well working closely with Peter never felt like work. It just felt very natural and easy. We actually got so much recording, we couldn’t believe how much we had gotten done as the whole time we were there we kept lazing around. So we only recorded a few hours a day for maybe 2 or 3 days. The whole time was such a special time for me for so many reasons. I kept kind of pinching myself to see if it all was real, I just loved Portland. I’ve always felt very at home in the states musically and just generally anyway. There’s this kind of openness that I love. And I hadn’t been back there since I had my son, so I was just soaking so much in.

The Sparkle was near the ocean and near forest. There were deer and racoons. Me and Peter sat out on the porch and a raccoon came right up near us. We drank a lot of coffee. Sat in parks. Swam in the river. It was really a pivotal moment for me. The last six years or so for me had been so hard and I felt just like all my trust and hoping that things would change had paid off and I was enjoying this great opportunity.

I’m most proud of just doing it. I think if it had been the year previous and that opportunity to go out and record there had come up that I probably wouldn’t have taken it up. I was way too shy and anxious.

Can you shed some light on the song-writing process? I get the impression that patience and allowing a song to slowly bloom is important to the process itself? Would you have any trusted techniques or rituals you feel important to the creative process?

BMP: For me yes it really is to do with patience. What generally happens with me is that I seem to live life, soak everything in like a sponge and then after a few months everything comes pouring out. I never try to create. And when I do its usually bad news. It’s the same with painting for me, I have to come across things accidently, if I am asked to draw something in particular I really struggle to do it because there is an idea about it. I see artists that can really work like that with ideas first and make really amazing work, but for me it’s like the opposite way or something. It’s also a mystical thing for me, I don’t usually remember when or where I write something or when I finish a song. It’s like that exact when I finish something doesn’t really exist. It just appears.

Discuss the singers and musicians that lie rooted in your own sonic canvas and musical landscape? I fondly recall you singing (acappela) several Irish traditional standards back in Galway and Cork in the past, which leaves such a hypnotic spell on the audience. Discuss (if you can!) the techniques and voicings you have developed when it comes to delivering this sort of cathartic vocal performance?

BMP: I think that I heard a lot of different types of music growing up and I sponged it up. So I heard a lot of Planxty, Dolores Keane, De Dannan as far as traditional music is concerned. And also in my family gatherings singing was a big thing. Then in my own development with singing – I always got a lot of inspiration from certain singers that went that extra bit further, and to be honest I don’t think it was the technique that grabbed me, it was the depth they went. So I drew a lot of inspiration from singers like Aretha Franklin, Ray Charles, Neil Young, Joni Mitchell and of course Tim Buckley. But also I always found John Fahey’s guitar playing a vocal inspiration too because I felt like he played the guitar like someone singing. But basically I don’t think I developed much technically or in a “learning how to do something way” it was more like I allowed myself to touch on something that feels quite outside of myself and maybe ancient sometimes.

Lastly, the cover painting (of your own creation) that adorns the record’s sleeve evokes the delicacy of this remarkable album and batch of songs. There is a nice backstory to this particular artwork I recall you telling me previously?

BMP: Ah yes, my friend the artist Vicky Langan has this really sweet daughter called Sionnach which as you know is “fox” in Irish. I think she was four or five at the time and she made such an impression on me, she was so imaginative and funny. So then a few weeks later I found myself subconsciously drawing a fox so I named it “A Fox for Sionnach” and gave it to her!

‘Brigid Mae Power’ is out now on Tompkins Square.

 

 

 

 

 

Written by admin

June 14, 2016 at 6:35 pm