Από το όμορφο tinymixtapes.com (Stephen Bezan), μια κριτική για τον Peter Broderick του «Music For Falling From Trees»:
«Still in his early 20s, Peter Broderick has developed an impressive back catalogue while maintaining a relatively diverse methodology between works. Following the exquisite mini-albumDocile and the equally impressive 7-inch single «Retreat/Release,» Broderick’s debut full-length, Float, further demonstrated his talent for composition and rightfully garnered comparisons to genre heavyweights such as Max Richter. On 2008’s Home, however, Broderick opted for a more stripped-down, personal approach, with vocals and acoustic guitar playing a much more dominant role. The result was an album of atmospheric bedroom-folk reminiscent of José González or even the more abstract Benoît Pioulard. At first, this shift in form may seem like a significant departure from his earlier material, but as proven by the collection 4 Track Songs released this year on Type, Broderick has dabbled in similar areas before recording his more expansive compositions. Considering the overall quality and range of his material, then, the prospect of a new Peter Broderick release is an exciting one, if for no other reason than to see which direction the young musician will take.
Commissioned by Adrienne Hart as the audio component for her modern dance piece, Music For Falling From Trees finds Broderick’s work placed within a unique context while, at the same time, not venturing too far from his comfort zone. Gracefully exploring seemingly austere and forbidding themes, Hart’s dance delves into the mind of a mentally ill patient, as he struggles to retain his identity through a period of institutionalization. While Broderick’s music has always possessed a cinematic quality, never before has it been associated with such a concrete narrative. While the extent to which the dance’s overarching themes affect the listening experience depends on an individual’s standpoint, there are certain elements — the suggestive song titles, the album art (which features still shots of the dance itself), Broderick’s admission that the instruments loosely represent different characters in the dance — that make it difficult to fully remove the music from its visual counterpart. Still, Broderick succeeds in composing music that, while certainly melancholic, possesses a hopeful, nostalgic, and even playful quality at times. And it is through this range of mood and emotion where he challenges preconceived notions surrounding the assumed bleakness of the dance’s subject matter and allows his music to stand effectively on its own.
In terms of the overall instrumentation and form, Music For Falling From Treesfinds Broderick working in areas similar to those explored on previous albums. However, there are some important differences that distinguish this work from his earlier material, such as this time working exclusively with violin and piano — the two instruments with which the young composer is most comfortable — providing a sense of ease, spontaneity, and looseness that is sometimes missing from his more focused compositions. For fans of some of Broderick’s earlier material, then, these qualities, combined with the relatively narrow range of instrumentation and short duration of the album, may prove somewhat limiting and not as immediately immersive as some of his best work. But repeated listens and consideration for context aids in revealing the subtle, yet greatly emotive details that run throughout Music For Falling From Trees, resulting in moments that rank among Broderick’s best.»
Από το moreintelligentlife.com, εμβαθύνοντας στον Peter Broderick:
More Intelligent Life: What drives your passion to play so many instruments?
Peter Broderick: Well, I think a lot of it has to do simply with my impatience and curiosity about sounds and instruments. I sometimes wish I had the patience and discipline to study one instrument and become really good on it. But instead I’m more excited about learning a little bit on as many instruments as possible.
MIL: Any favourites?
PB: I think my favourite instrument will always be the piano. All I have to do is touch one note and I think it sounds so beautiful. And all pianos are different, so I love to hear the different tones of the different instruments. There’s one instrument I’ve been really wishing I could try. It’s called a key harp, and it’s kind of like a violin, but it has keys (kind of like a piano), which you press down to change the notes. It makes a beautiful, pure tone and I look forward to the day when I find one of these.
MIL: The move to Copenhagen to work with Efterklang sounds like a life-changing one. What was that like?
PS: This was a dream come true for me. Efterklang was one of my favourite bands, and I got in touch with them on MySpace, and asked if I could send them some of my music. We kept in touch every now and then until one day they just invited me to move to Denmark and join the band. It was definitely life changing, in all of the best ways. They are the ones who helped me start my career in music, and helped me to believe I could do it. Since I joined the band after the last record was made, my role has mostly been to play parts that were already written (mostly violin, but also some guitar, drums, singing, and lots of little things). But now they are working on a new record, which I will be a part of, and I’m extremely happy about this.
MIL: How’s the North European cultural climate compared to Portland, Oregon?
PS: It’s funny, because in some ways these two areas are so similar. But for me, it feels like my music career (and maybe my life in general) didn’t really begin until I moved to Europe. I don’t know if my music just fits better in Europe, but I’ve made many more connections, and I have so many more offers for concerts and jobs.
MIL: Though you play many instruments, your records so far have featured only one or two at a time. Why this restraint? I always imagine multi-instrumentalists would want to break out as many instruments and toys as they can find.
PS: I really like to limit myself in recording situations. To say, ‘let’s see if I can make an album only using these two instruments,’ etc. I think some of the most interesting results come out of a process like this. But at the same time, now I’m kind of excited about making an album that has everything. And I’m kind of working on an album like this now.
MIL: You have changed tack a lot in your recordings so far, moving from piano-led pieces to folky guitar. Why such seismic shifts?
PS: Yes, that’s true. For me, though, all of these instruments and tones are just sound. I guess I would hope that while the instrumentation on my albums has changed, people can still tell it’s me, through the melodies, the mood, the pacing, etc. I think I would get bored if I made the same record over and over again. I am more excited about trying to challenge myself by making music in as many different ways as possible. Maybe the «sound» of me will be known as a sound of inconsistency, but like I said, I can only hope that people might be able to hear a thread running through all of my music.
MIL: What’s the story behind «Music For Falling From Trees»?
PS: Adrienne contacted me toward the end of last year, simply asking if I’d ever considered writing music for dance. She proposed a collaboration, and I gladly accepted. I think it was a great fit, because everything I sent over to her while I was working she responded positively to. And often times it can be a struggle trying to work with film directors, choreographers, etc, because it can be hard to fit your music into that other person’s vision. But I think Adrienne was very open, and trusted me with the music, so that made it a very easy and enjoyable collaboration.
MIL: Were the parameters defined or did you have free creative range?
PS: Adrienne gave me a script of the dance, with all of the seven sections written in text, and with how long each section should be. And she sent me video clips of some of the rough choreography sketches. This is what I had to create the music. I had less than three weeks to create the entire score, so I approached the music in a very open way. A lot of things were improvised, and there are a lot of experiments with drone and texture, while still a lot of movement in the piano and strings. Of course it’s always a challenge to start from scratch on a project like this, but really, I think that was the only challenge. Getting started. After that everything seemed to fall into place.
MIL: What other projects are you involved in?
PS: Oh wow, I have so many projects right now, it’s hard to keep track of them all. I have more touring and recording planned with Efterklang, several solo releases and film score projects this year, tons of solo touring (mostly in Europe). Maybe I’ve taken on too many things, but I think it’s good to stay busy.
«Σε τούτο το double A-sided single, ο 25χρονος Αμερικανός συνθέτης Peter Broderick πετυχαίνει σε κάτι λιγότερο από 8 λεπτά να μας κερδίσει με την αμεσότητα και μεστότητα των συνθέσεών του. Στο “Old Time”, που είναι το μοναδικό φωνητικό κομμάτι από το “Music For Confluence”, η σύμπραξη του Broderick με την Arone Dyer στέφεται με απόλυτη επιτυχία, καθώς οι φωνές τους σμίγουν όμορφα στην υπόκωφη, κεντρική μελωδία δημιουργώντας μια ρομαντική, φολκ μπαλάντα.
Το “Solace In Gala” ( από το soundtrack του ντοκιμαντέρ Grace And Mercy), είναι μια ορχηστρική σύνθεση βασισμένη στην κιθάρα και στο πιάνο, ανατριχιαστικά όμορφη, όσο και η γοητεία του ‘νεκρού’ τοπίου που απέμεινε από τον προπέρσινο σεισμό στην Αϊτή. Κάθε νότα, ύψιστη σπονδή στους νεκρούς που άφησε πίσω του…»