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Step Right Up: La Nuit

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Interview with Félicia Atkinson & Peter Broderick (La Nuit).

“The words appeared to me like this, I don’t know, I like to improvise lyrics, it’s like day dreaming, you dig in your own soul and see what you can fish there.”

Félicia Atkinson

Words: Mark Carry, Photographs: Félicia Atkinson 

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The music of Félicia Atkinson and Peter Broderick both surfaced to my attention around the same space in time, during 2008. John Xela’s Type imprint served the most trusted sources for independent music discoveries and two composers from the label’s roster particularly forged an indelible imprint, namely Peter Broderick and Sylvain Chauveau. ‘Float’s utterly captivating neo-classical-based compositions served a gateway into Broderick’s soaring songbook – that soon would follow with the gifted Portland musician’s ‘Home’ and ‘4-Track Songs’ full-lengths – and across the years, any project conceived by Broderick (or shares his involvement in any way) has become a trusted musical companion; one which only heightens with the passing of time.

Similarly, the works of French composer Sylvain Chauveau casts a magical spell upon the listener. The sublime cinematic works of ‘Nuage’ (a glorious collection of film soundtrack work) and ‘The Black Book of Capitalism’ (a remastered reissue of Chauveau’s incredible debut) were huge musical discoveries and it was through Chauveau’s work that French artist Félicia Atkinson’s unique voice would come into full-focus. ‘Roman Anglais’ was a collaborative album crafted by Atkinson and Chauveau in which Atkinson’s mesmerising spoken word passages melded effortlessly with Chauveau’s beautiful instrumental backdrop. A track like ‘Aberdeen’ I found myself happily immersed in for hours on end. Forward to 2015 and the collaborative project of Peter Broderick and Félicia Atkinson, appropriately titled La Nuit feels a lovely parallel to those special works unleashed in 2008.

Desert Television’s divine sound world of drone-infused ambient soundscapes, dub echoes, mesmeric spoken word passages, and compelling instrumentation (rhodes, violin, voice, found sounds, percussion) unfolds a beguiling atmosphere and ethereal dimension from the opening ambient pulses of ‘Feu Pale’ to the gorgeous string arrangements of epic closing track, ‘The Sun Is Folded in Eight’. ‘Feu Pale’s drifting tones of rhodes, guitar, harmonies and soft percussion meld wonderfully with the captivating spoken word passages of Atkinson evoking a seascape of forgotten dreams.

The utterly transcendent ‘Road Snakes’ contains a Lynchian utopia (‘Lost Highway’ comes to mind) and sense of euphoria and nostalgia. Certain words and phrases uttered by Atkinson are embellished within the neon-lit musical backdrop of synths and luminescent beats. Atkinson asks “What’s the weather today?/What’s the time?/Where are we going?” on a later verse that feels like a stream of consciousness, somewhere between Kerouac’s beat poetry and Kafka’s visionary novels. This tour-de-force feels as if Serge Gainsbourg is transplanted onto a sprawling canvas of contemporary electronic sounds (a la Nils Frahm, Greg Gives Peter Space and Rival Consoles). A timeless feel permeates every inch of ‘Road Snake’s towering road-trip, comprising “one road and many cars”.

The celestial harmonies and blissful ambient pulses of ‘Blind Sights Of The Diamond’ conjures up the timeless sound of Efterklang circa ‘Parades’. Psychedelic flourishes ascend into the forefront of the mix as the song’s elements become more pronounced as the sonic creation lengthens and expands. The album’s penultimate track, ‘The Blue Path’ sees Broderick’s backdrop of strings coalesce with Atkinson’s spoken word (taken from her book of poetry ‘The Twenties Are Gone’). ‘The Sun Is Folded In Eight’ is ‘Desert Television’s epic (over thirteen minutes in duration) drone-infused psych folk lament of stunning beauty and eerie, searching moods. La Nuit represents a deeply meaningful and utterly enthralling musical voyage from two unique and formidable artists.

 

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‘Desert Television’ (edition of 300 on red vinyl) is now on Beacon Sound.

http://www.wearebeaconsound.com/shop/la-nuit-desert-television-lp
http://www.peterbroderick.net/
http://feliciaatkinson.tumblr.com/

 

Interview with Félicia Atkinson & Peter Broderick (La Nuit).

 

Congratulations on the stunning collaborative project, La Nuit and the enthralling sonic voyage of ‘Desert Television’. Firstly before discussing the record, please recount for me your memories of first crossing paths with one another and indeed first discovering each other’s marvellous artistic works?

Félicia Atkinson: I discovered Peter’s music through is record ‘Home’ that was released on the label Type at that time, and remember that I found it really inspiring and moving.
Then I guess we met in Montreuil at Instant Chavires: he was playing there, touring with Nils Frahm and I was playing with a band I was involved in at the time (2008? 2009?) called Louisville. Then we became penpals and friends.

Peter Broderick: I first learned about Félicia through her collaborative album with Sylvain Chauveau in 2008 or so. I was already a big fan of Sylvain’s work, and on this album he made the music and Félicia spoke over the top. I fell in love with the album and not too long after that Félicia began to release a steady stream of solo material, which I followed very closely. We met in 2009 when we played a concert together in Paris. She was performing with a band she played in at the time called Louisville (I recently learned this was the only show that band ever played!), and I have vivid memories of her sitting on the floor of the stage with pages of writing scattered around her, speaking into the microphone while a band of guys played music around her. I loved it. Félicia was very warm and open towards me from the moment we met, and this only enhanced my love for her work.

Please take me back to the recording sessions at The Sparkle for the La Nuit project? What sort of routine or work practices did the pair of you utilize during this period of time? I love the fact that some of the lyrics come from Felicia’s book of poetry, ‘Twenties Are Gone’ so in this regard, there is this gorgeous spark of spontaneity radiating from the beguiling soundscapes and musical backdrop.

FA: Well, this record was I must say completely improvised from the beginning until the end, which is often the way I am used to work. Improvising is my thing! I just finished touring in Canada with Sun Araw and me and my boyfriend (Bartolomé, whith whom I run Shelter Press) decided to relax for a couple of weeks in Portland, Oregon. We had a wonderful time with Peter and Andy in Portland and other friends (Andy who runs Beacon Sound) and Peter invited us to visit him at Woods, near Pacific City in the Oregon Coast.

The place is great, has a wonderful energy. One day Peter asked me if we could record something and we recorded the DESERT TELEVISION in a day! I guess I was filled with the energy of the tour in Canada, the music I heard, the people I’ve met, the roads, the landscapes I’ve seen from the Lake Louise along the Oregon Coast, and the studio session was the just the best way to share all this energy.

Twenties are Gone’ is a book I wrote when Bartolomé and I were doing an artist residency in Finland, in the middle of the woods in 2012. During that time a lot of memories from Oregon appeared melt with Finnish forest and lands. So somehow it made sense to bring back the reading of the book to Oregon!

PB: We only spent one day in the studio together, and it was quite possibly the most fun and freedom I’ve ever felt in the studio. We didn’t ever really pause to think about what to do next . . . We just kept playing and creating sounds in a very intuitive way. Actually, only the short piece “The Blue Path” uses text from Twenties Are Gone . . . All the other songs are just Félicia freestyling into the microphone, completely unedited, and always in just one take.

The cinematic opener ‘Feu Pale’ serves the fitting introductory hymn to ‘Desert Television’s sprawling canvas and striking narrative. An ethereal dimension is effortlessly tapped into here and the drifting tones of rhodes, guitar and harmonies meld wonderfully with the captivating spoken word passages. Please talk me through this particular song and your memories of the song blossoming into glittering life? It feels this served the gateway into the rest of the record.

FA: Well, I love the Rhodes keyboard, it always have been one of my favourite instrument. I used it already for another record I recorded in one day, O-RE-GON (Home Normal) in Portland in 2010 at Type Foundry’s studio after actually Peter’s advice. So when I saw Peter has a Rhodes in his lovely studio, The Sparkle, I knew right away I wanted to improvise with it. Also, the place felt magical at first sight. I wanted to play music there with Peter!

The words appeared to me like this, I don’t know, I like to improvise lyrics, it’s like day dreaming, you dig in your own soul and see what you can fish there. I pictured the desert (for example a trip in Joshua Tree I did the winter before) and the mental landscape helped me to build my parts.
Peter understood right away the spirit of the song so we build the song like we were painting a kind of desert wall painting or something.

PB: This was the first song we recorded. The song has a fade-in, and that’s because Félicia was already playing when I hit record. I’m not even sure she was aware that I started recording. So the first track on the album literally begins at the first moment I pressed record when we were in the studio. Félicia was playing the fender rhodes, and I was running it through a tape delay, effecting the sound as she played, and also singing along and playing percussion from the other side of the room. You can hear me singing quietly in the background and playing percussion, and this was just me playing along far away from the microphone.

sparkle

The monumental tour-de-force of ‘Road Snakes’ contains this Lynchian utopia and sense of euphoria and nostalgia. I just love how certain words and phrases are embellished within the neon-lit musical backdrop and take on a life of their own. (For example, “Where do we go?”) A road trip. A travelogue. Did the music come after the spoken word passages or was it created at the same moment in time?

FA: I think Peter did the keyboard while I was doing the voice and then we added layers of instruments. We wanted to something a bit dubby, and the image of the car race in the Sahara appeared to me. I just finished that recent book also, ‘The Flame Throwers’ by Rachel Kushner about a young artist who is also a biker in the 60-70’s in Italy and the USA and I thought about her while improvising the words, as well as the film ‘Two Lane Black Top’ (1971) by Monte Hellman.

For the voice I thought also about Serge Gainsbourg, and his way of pronouncing the “T“ in ‘Melody Nelson’ for example. That was what I had in mind at this time. It just popped up like this while I was improvising. I love the keyboard dryness Peter uses for this song, it gives an 80’s feeling that is very special I think.

PB: For this song (and for most of them actually), we created the music first and then added Félicia’s voice at the very end. And once again, Félicia just freestyled the vocals in one take. Upon listening back later, it really sounds to me like she’s kind of rapping! I love it so much. And as she was recording the vocals, I was effecting them live through tape delays. In this way, there was very little sitting around and waiting from either of us. If one person was recording an instrument, the other was always free to play along or add effects. Also, I’d like to add that the synthesizer stab sound in “Road Snakes” comes from a little toy casio keyboard! I love how huge and almost aggressive it sounds for being a toy.

The eclectic sound and dynamic range contained on ‘Desert Television’ is another aspect particularly significant to La Nuit’s compelling journey. I think this echoes in each of your own solo (and collaborative) work over the years so this really comes as no surprise. After the recording was complete, I wonder was there a challenge to retain (or embellish) these special moments that were captured during the recording sessions? I would love to know the processes utilized during the production and mixing stages?

FA: Well, we didn’t changed that much. Peter did the mixing and the mastering and I feel like the record sounds incredible. Peter added also those beautiful strings for ‘The Blue Path’. The post production didn’t radically change the record, we wanted to keep it fresh. It was more like making some parts a bit more glossy, or dense, or eerie or with more perspective in it.

PB: For the most part, the core of all the songs was completed in that one day. I did add some other instrumentation and mixing effects after Félicia left, but I was only embellishing what was already there, rather than trying to add new elements. I used a lot of tape delays in a ‘dub’ style, adding echoes and tape saturation to the recordings.

sparkle portland

The epic closer ‘The Sun Is Folded in Eight’ unfolds a cosmic and magical odyssey that feels like a gradual sunrise or sunset across the desert floor’s vast plains. Was this melody written from a different space in time or was it formed from a spontaneous reaction to Felicia’s words? I just love this symbiosis that exists between words and music, the poetic prose and accompanying canvas of colour and textures. It must have felt very special to witness this chemistry become translated into the music?

FA: Again, it was completely improvised. Peter was playing the guitar and I just said the words that came to my mind. I was thinking of Areski’s voice in the early Brigitte Fontaine and Areski’s records, Peter’s voice reminded me a bit of this.

PB: My nylon string guitar and vocal were the first seed of this song, and after composing a small theme with Félicia sitting write there, I recorded a long stretched out take, improvising upon the small idea I had, with Félicia sitting silently just a few feet away from me. This was the last piece we recorded, and we knew we wanted to make something longer and more patient. Félicia then added her voice with a single improvised take, and after she left, I added strings and synthesizers, but only doubling melodies that were already within my guitar and vocal parts.

Lastly, please shed some light on your forthcoming plans and projects?

FA: Well, we are very happy to release DESERT TELEVISION on August 28th on Beacon Sound!

Also, I am taking part to the Copenhagen Art Festival by the end of August, showing an installation in the Overgarden Museum. I’ll be Playing in Prague at the Film Centre with wonderful films by Man Ray in October. I have a collaboration with Jefre Cantu coming up for 2016 and as well as my new solo album for the end of 2016 on Shelter Press. And of course, with Shelter Press, my music label and publishing house, we are having new exciting releases on their way for September and after!

PB: Lately I’ve been keeping most busy recorded lots of different artists at The Sparkle. There are a lot of records by other musicians which I’ve been recording lately, and I’m looking forward to share a lot more info about all of this very soon! I’ve also been organizing a choir in Portland, and I hope to make an album with them at some point.

 


 

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‘Desert Television’ (edition of 300 on red vinyl) is out now on Beacon Sound.

http://www.wearebeaconsound.com/shop/la-nuit-desert-television-lp
http://www.peterbroderick.net/
http://feliciaatkinson.tumblr.com/

 

 

Written by markcarry

August 27, 2015 at 2:41 pm

Step Right Up: Heather Woods Broderick

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Interview with Heather Woods Broderick.

“Many times I see things, whether it’s a passing scene out of a window, or a combination of colours on a wall, that conjure up memories for me. So sometimes I use these images to help depict or frame a feeling.”

— Heather Woods Broderick

Words: Mark Carry

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Glider’ is the highly anticipated sophomore full-length –and follow-up to the formidable 2009 solo debut ‘From The Ground’ – from gifted multi-instrumentalist and singer-songwriter, Heather Woods Broderick. The Brooklyn-based and Portland-raised musician has long been synonymous with some of the most breath-taking musical explorations of recent times, having closely collaborated with Portand’s Horse Feathers, Danish group Efterklang and is currently an integral member in U.S singer-songwriter Sharon Van Etten’s band.

The nine immaculate sonic creations captured on ‘Glider’ unfolds a fragile beauty and striking emotional depth that inhabits an ethereal dimension from the opening dream-like atmosphere of ‘Up In The Pine’ to the closing country gem ‘All For A Love’. ‘Glider’s bewitching sonic canvas possesses a transient quality with each song cycle capturing a myriad of fleeting moments. The gorgeous vocal harmonies, pristine production and rich instrumentation serves the fitting backdrop for Broderick’s deeply affecting songs to flourish. For example, ‘Mama Shelter’ evolves into an infectious dub-infused groove which is masterfully inter-woven with Broderick’s richly soulful vocal delivery. The piano-based ballads of ‘Fall Hard’ (which could be taken from Marissa Nadler’s latest record ‘July’), ‘The Sentiments’ and the album’s title-rack ‘Glider’ serve the album’s most poignant and soul-stirring moments as the rich tapestry of vocal harmonies and piano notes drift majestically in the ether.

A Call For Distance’ epitomises the evocative production masterfully dotted across ‘Glider’ as timeless dreamwave sounds of This Mortal Coil and Cocteau Twins comes to the fore. The joyous sounds of ‘All For A Love’ with its jazz leanings (thanks in part to David Allred’s trumpet part) contains gorgeous clean guitar tones, upbeat harmonies and warm percussion akin to a marvelous sunset on a summer’s night. “There is a lot to live for” is a lyric that resonates powerfully and marks the album’s over-arching theme of perseverance through life’s difficulties and therein the strength to find one’s inner voice.

‘Glider’ is available now on Western Vinyl.

http://heatherwoodsbroderick.com/
http://westernvinyl.com/

Interview with Heather Woods Broderick.

Congratulations on your sublime new record ‘Glider’. The album is nothing short of staggering where the nine sonic creations unfold a fragile beauty and striking emotional depth that leaves the listener utterly dumbfounded. Rather than a record being a snapshot in a moment of time, ‘Glider’ possesses a transient quality with each song cycle capturing a myriad of fleeting moments culled from a long period of time. Can you please talk me through the songs of ‘Glider’ and discuss the themes to ‘Glider’ and your aims from the outset?

Heather Woods Broderick: Thank you very much; I’m really happy to hear you’re enjoying the record. Most of the songs on ‘Glider’ are reflections of experiences I’ve had, or close friends or family have had. The songs were written over about a two-year period, but reference events spanning a substantial period of time in my life. The title track is the only song I wrote prior to moving to Brooklyn in the fall of 2011. Many years had passed since I released ‘From the Ground’ when I really began writing the material for ‘Glider’. I think I’d grown as a musician after playing with so many different projects, and also as a person after so much travel around the world. ‘From the Ground’ was my first attempt to write any songs with words, so there were a lot of things I wanted to do differently when writing ‘Glider’. I like to create an atmospheric landscape for songs to live in. For ‘Glider’, I still wanted this to play an important role in the sound of the record, but I spent more time fully forming songs and writing lyrics. I think all of the songs on the record are pretty self-explanatory in a lyrical sense since they are all based on real events and emotions, but I do like to utilize a bit of metaphor in songwriting to help paint a picture an allow for more imagination. Many times I see things, whether it’s a passing scene out of a window, or a combination of colours on a wall, that conjure up memories for me. So sometimes I use these images to help depict or frame a feeling.

The range of sounds masterfully sculpted across the record is something that sets ‘Glider’ apart from your formidable debut full-length ‘From The Ground’ where this time around all songs are vocal-based, reflecting a song-writing masterclass in full bloom. Please take me back to the recording sessions and the wonderful cast of musicians you were joined by, not least your brother Peter and the wonderful David Allred among several others.

HWB: Every song on the record started out as a poorly self-recorded demo. I knew that I wanted to go into the studio having all of the material prepared, so I spent a lot of time with the demos – working with the structure and arrangements of the songs. I had all the vocal ideas worked out on demos, and knew the guitar sounds I wanted to go for, etc. When it finally came time to go into the studio I asked a few friends to be a part of the process. I spent five days at Type Foundry studio, working with engineer Adam Selzer, in Portland, OR where I recorded all of my basic tracks and vocals, and also tracked 2 of the songs (Wyoming + All for a Love) live as a three-piece. During these sessions Dave Depper played bass, Peter Broderick played Drums, Birger Olsen came in to lay down the guitar solo on ‘All for a Love’, and Eric Early played some hammond on ‘Desert’. All phenomenal musicians; I was lucky to have them join me on the songs. After the five days at Type Foundry, Peter and I took all those tracks out to a home studio he has on the Oregon Coast called The Sparkle. We spent a couple of weeks out there doing the rest of the overdubs. David Allred also came out and added some upright bass and trumpet during this time. We worked with the songs a lot during this phase, filling out the arrangements more, doing all of the post production, and then mixing the record here as well.

Aesthetically, ‘Glider’ is such a triumph and revelation. The piano-based ballads such as the heartwrenching title-track, ‘Fall Hard’ and ‘The Sentiments’ are beautifully inter-woven with ethereal dreamwave creations like ‘A Call For Distance’ and stunning folk gems like ‘Desert’ and ‘All For A Love’. I wonder was it ever difficult to decide on a certain style or version of a particular song, Heather? Did any of these songs undergo a dramatic transformation (or mutation!) from your original sketch of a song to its final recorded entity? For example, I can imagine a song such as ‘A Call For Distance’ is such a thrill to perform and record with your band?

HWB: I find it almost impossible to go back and drastically change the structure or lyrics of a song once I’ve written it. So for the most part, the songs are really similar to the demos. I wasn’t really going for any particular style or anything when I was writing. ‘A Call for Distance’ was sort of my labour of love on the record. I used a lot of delays through the process of writing these songs, and I think this one in particular was really inspired by what I was hearing as I went. I had an electric guitar with a delay pedal, a vocal mic, and a basic logic setup, so I could play and listen back while writing. I wouldn’t even know how to replicate some of the sounds from the demos on this song, so we ended up flying in some of the demo tracks. I have yet to perform this one live with a band, but I really look forward to doing that, and figuring out some version of it that works in a band setting. Some fun developments did happen during the recording process though. For example, Dave Depper’s bass playing on ‘Mama Shelter’ ended up being a huge influence to the path of that song took. He came up with this dub/reggae bass part in the chorus’ that we loved, so we sort of played on that theme while adding the other instrumentation. It fit in really well with the chorus echo and space echo machines that we were using with all the other tracks as well.

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The art of collaboration has been a trusted constant in your musical path, from Horse Feathers to Efterklang and Sharon Van Etten. I would love for you to share your feelings on music as being the great collaborative art. I can imagine the sum of these experiences and journeys with all these special souls makes for such an inspiring and rewarding journey. What are the memories you most cherish from these particular collaborations?

HWB: I have been very lucky to play with so many talented musicians, and collaborating with other artists is something that I’ll always have an interest in doing, musically and beyond. I love learning other peoples’ songs as well as writing parts to accompany others’ music. I find a lot of pleasure in practice and repetition. It’s a very different experience playing with different people. Everyone approaches music in their own way, and I find that really interesting. I go through phases of wanting to work on music that’s much more structured or technical, and wanting to throw out all the rules and just play loud rock music. It’s all rewarding in different ways. I loved being able to play cello in Horse Feathers – something I haven’t done with any of the other bands I’ve played in since, at least in a live setting. I have particularly fond memories of traveling with Efterklang to places I’d never been, and haven’t been since. They were really special people to make music with. I was late in the game in hearing Sharon’s music, but I’m so glad I did. I still remember the first time we sat in my living room and sang together – a moment I’ll never forget.

Coming from a musical family – both your parents are musicians and you began piano lessons at the young age of eight – music has always been in your life. I would love if you could reflect on pivotal moments that occurred during your musical upbringing that you feel helped you in a significant way? I can only imagine you and your brother at home must have been playing music together, almost on a constant basis?

HWB: There was definitely a lot of music going on in my house growing up. My parents both played guitar and always spun records after dinner. My older brother Noah played saxophone and also electric in a grunge rock band. I took piano lessons for years, and then quit for about a year when I was 15 or 16. Probably typical of that age and not wanting to be told what to do. I came back around to it though. I found some classical pieces that I really fell in love with and contemporary bands that I heard classical crossover with (everything from Rachels to various math rock bands), and it made me excited to keep practicing, and to be able to apply what I’d learned to making music with people. My brother Peter started taking suzuki violin lessons when he was really young, but we never really played together until I was 18 or 19. We started playing in a band together then, and also went to the same school for a brief period and would write and perform pieces together for composition classes and recitals. My parents were always really supportive of whatever I wanted to do with music, and I’m sure their support encouraged me to go down my own musical path.

The tender lament ‘Desert’ is one of the album’s (many) defining moments. I love this sense of a travelogue that flickers in and out during many of your songs. The imagery and poetic prose
conjured up on ‘Desert’ resonates powerfully. Please talk me through this song and your memories of writing ‘Desert’.

HWB: ‘Desert’ was one of the later songs I wrote for the record. I was on a break from touring and trying to spend some quiet time at home with my guitar in Brooklyn. I wrote the song in one afternoon in my living room there. I had recently been playing a lot of music with my dear friend and fellow musician Alela Diane in support of her record ‘About Farewell’. I was playing second guitar along with her and had been messing around with some of those finger picking patterns. The core of the lyrics are based around a conversation that I’d recently had with a former boyfriend that had left me feeling unresolved. It was also late winter in New York, and the imagery is embedded in observations of the season.

I feel the empowering piano ballads contained on ‘Glider’ serve the vital pulse to this remarkable album, reminiscent of Marissa Nadler, Grouper’s ‘Ruins’ LP and indeed, Sharon Van Etten. It feels as if these songs represent some of the earliest written songs that helped shape the rest of the record. I love the ethereal dimension the piano-based works inhabit, creating in turn, utterly transcendent moments.

HWB: Those are all lovely ladies to mention, thank you. ‘Glider‘ was the earliest track written for the record, and was written while I was still living in Berlin before moving to Brooklyn. ‘The Sentiments’ was written somewhere in the middle of that two year writing period, and ‘Fall Hard’ was actually the last song I wrote for the record. Maybe it’s appropriate that they are scattered like they are throughout the record in a sense; I hadn’t thought about that.

What records do you find yourself coming back to, time and time again? Please discuss any books/gigs/music/films you have been most impressed with lately?

HWB: My musical tastes really vary. On the classic side, I always go back to records by Kate Wolf, Neil Young, and Springsteen. These are all records I grew up listening to. I don’t think I’ll ever tire of Dawn Upshaw performing Henryk Górecki’s Symphony no. 3, Rachmaninoff’s piano concerto no. 2, or any Chet Baker record. I also love a lot of new indie bands, jazz, ambient – the list could really go on forever. I think the most memorable performances I’ve seen in the last few years was Antony and the Johnson’s performing Swanlights at Radio City Music Hall. I love seeing dance performances. ‘Drift’ by Cindy Van Acker, and a piece titled ‘Leading Light’ by Suniti Dernovsek are two of my favorites I’ve seen in the last year. I recently read ‘Light Years’ by James Salter and ‘The Year of Magical Thinking’ by Joan Didion – both beautiful books. I’d highly recommend both.

 


 

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‘Glider’ is available now on Western Vinyl.

http://heatherwoodsbroderick.com/
http://westernvinyl.com/