PETER BRODERICK - 'MUSIC FOR CONFLUENCE'

Formats

• ERATP036CD - CD

  4050486054628

• ERATP036LP - LP

  4050486111383

Details

April 1st will see Peter Broderick’s classic score Music For Confluence reissued on vinyl for the first time. Through relentless touring and multiple album recordings, Portlandbased Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter. Created in 2011 for Jennifer Anderson and Vernon Lott’s spell binding documentary film on five unsolved murders in Idaho, the soundtrack takes the listener through waves of stark emotions. IN HIS OWN WORDS: “It was November 2010 when I started to seriously think about relocating to Berlin. I knew my Danish visa would run out sometime in 2011 and if I wanted to stay in Europe I'd need to either renew it or get another visa elsewhere. Berlin pulled me in like a magnet, with so many of my friends and inspirations living and working there, and also being so central for my frequent European travels. And just when I started to think about finding a place, I heard about a friend of a friend who was renting out a spacious two-floor apartment in the middle of town. I was told the building was owned by a man who only wanted musicians to live there, so I could make all the noise I wanted, and on top of that I was given a key to the piano store on the bottom floor so I could play anytime the store was closed… the place was made for me! All winter, when I wasn't traveling and playing concerts, I was locked away in this new space creating. I had been asked to make the score for a documentary film called Confluence. The film is based in the Lewiston, Idaho area, not too far from where I grew up in the USA, and it chronicles several mysterious cases of young girls found murdered or gone missing around 1980, all of which seem to lead back to one man who for a variety of reasons has not been able to be charged with these crimes. So with my minimal equipment and a key to Die Klavier Etage (the piano store), I set out to create some textural soundscapes which could compliment the building tension of the story without being too intrusive or suggestive. Days and nights, snowed in and experimenting with layers and layers of whichever instruments I had around, finding a murky atmosphere that fit with the uneasy feeling which the film gave to me. On New Year's Eve I was inside, recording the final notes for the score. I had finished everything except the piece for the credits. After speaking with one of the directors of the film, Vernon Lott, we decided the song for the credits should be different from the rest of the score. So while the fireworks were exploding outside my window, I was recording Old Time, a song which for me felt like a breath-of-fresh-air after story which can only leave you wondering…” – Peter Broderick

Tracks

01. In The Valley Itself
02. The Last Christmas
03. We Didn't Find Anything
04. Some Fisherman On The Snake River
05. We Enjoyed Life Together
06. She Just Quit Coming To School
07. It Wasn't A Deer Skull
08. What Was Found
09. He Was Inside That Building
10. The Person Of Interest
11. Circumstantial Evidence
12. Until The Person Is Aprehended
13. Old Time

Press

?A songwriter of beguiling depth' ? The Sunday Times
'Painfully young and unnervingly talented'
? The Economist?s Intelligent Life
?A precociously talented, classically trained multi-instrumentalist?
? The Independent

Audio & Video

BILLY BAO - 'LAGOS SESSIONS'

Formats

• LSSN036CD - CD

  5060446120606

Details

Night School is extremely proud to work with Billy Bao and Munster to present Lagos Sessions. “Experimental; Conceptual? That’s what these sort of things are usually called, when references are anything but immediate: in the feeling, hearing, and seeing, especially by many. Even more troubling, when the accustomed in us gets ajar... We lack articulation of the seemingly unfamiliar! Even at that, I think the most charitable review of this live electronic exploration will suggest the four sections bordering on insanity. How else? Even when not a few self-styled patriots were booking their flights out of the country, with an election looming to signal the end of a nation, and a band of modern day faith-heads detonating grenades in every other street corner, two dreamers swim against the currents and sneak through the lagoon into the country collecting inputs of derelict art; of garbage can noise; of hooting; honking horns on screeching brakes squelching tar; rackety generator booms? For an imagined program! What’s that? Who, what do these doods think they’re doing with Lagos?! I’ll call it rebirth. That simple. How to find a centre here? The output? The hum-drum of the street’s daily accent compels the sense of the immediate, the terrestrial; and then those primitive, primeval-seeming echoes of the earliest beginnings of the big bang and its wave-sound simultaneously releasing Sun Ra’s reverb sensation of end time! This should not be danceable but these guys are suggesting the possibility of rhythm in the inchoate. Believe me, you can’t miss the Lagos Faaji, Sakara flow, Awurebe, Afrobeat slices; its jazz, highlife/ Euro- Afro funk/rock/rap and seedy night echoes too. But in their otherworldly dimension. No matter the accolades, I will encourage a therapy of some sorts to the creators of this production.” Sola Olorunyomi, poet, bassist, co-editor of Glendora Review Kunle Tejuoso, Jazzhole, Lagos Lagos Sessions featuring: Billy Bao, Ambido, Diana Bada, Duro Ikujenyo, Mark Ido, Oduyomi Isaiah Oluseye, Joel Isioma Okoh, Orlando Julius, Mendo, Emeka Ogboh.

Tracks

1. A
2. B
3. C
4. D

Press

Audio & Video

SKULI SVERRISSON & ANTHONY BURR - 'THEY HOLD IT FOR CERTAIN'

Formats

• MENGI03LP - LP

Details

**SUPER DELUXE PACKAGING INC. ORIGINAL ARTWORK** A haunting new long form piece from Anthony: Organ, clarinets Skúli Sverrisson: Dobro Yungchen: Voice Recorded at home in New York Mixed by Anthony Burr Music by Anthony Burr, Skúli Sverrisson & Yungchen Lhamo Artwork by Inga & Orri Text on artwork by Bergsveinn Birgisson

Tracks

Press

Audio & Video

PETER BRODERICK - 'MUSIC FOR FALLING FROM TREES'

Formats

• ERATP015CD - CD

  4260185966362

• ERATP015LP - LP

  4050486111376

Details

April 1st will see Peter Broderick’s classic Erased Tapes debut Music For Falling From Trees reissued on vinyl and CD. Through relentless touring and multiple album recordings, Portlandbased Peter Broderick has established himself as a contemporary composer, known for his innate gift as a musical medium to picking up any instrument, turning his musings into poignant songs. The scope of Peter’s work is vast – his recordings and original score work currently feature in dance arrangements, art installations, films and documentaries. He collaborated with many like-minded contemporaries such as Nils Frahm and Greg Haines, and featured on Clint Mansell’s Last Night soundtrack. Peter’s signature emotional depth cuts through any instrument to create stirring, personal music that is full of artistic detail. Currently an artist in residence at Sirius Arts Centre in Cobh, Ireland, 2016 has much in store for Peter. 2009’s Music for Falling From Trees, a 30-minute piece in seven sections, was created for a contemporary dance by London-based choreographer Adrienne Hart at Neon Dance. Adrienne was looking for a score of piano and strings, so Peter left the guitar and his voice aside and focused entirely on those two timbres. The dance tells the story of a man in a psychiatric hospital, and his struggle to maintain his identity. The music is sometimes melancholic, sometimes playful, sometimes chaotic, but with the combination of piano and strings, full of beauty, reverence and awe. IN HIS OWN WORDS: “In late 2008, Adrienne Hart contacted me about scoring her new work, Falling From Trees. In Adrienne's words, ‘the piece is set in a psychiatric hospital and centered around one man's struggle to retain his identity in the most extreme of circumstances.’ There are four dancers in the piece. One male playing the patient, and three female hospital workers. I had been making music for a variety of film projects, but the thought of scoring a dance was very exciting to me. I was on tour at the time, so I wasn't able to start writing the music until I had a break in early January. The dance premiered on January 21st, so I had about three weeks to create the score. I camped out up in the top of my father's barn with some minimal recording equipment, my violin and viola, and an old broken piano. Given the time constraints, I approached the music in a very open way. Rather than sit down and try to compose something, I just set up a microphone and started playing. After coming up with a couple of themes on the piano, I started recording, using those small themes and improvising around them. Most of the sections have a small core that is composed, and then the rest is improvised. Luckily for me this method seemed to work. I would work all day and then send a sketch over to Adrienne, and every time her response was positive. So in this way we worked very well together. I give my hugest thanks to Adrienne for trusting me to create the music for her wonderful work. Adrienne told me from the beginning she was looking for a score of piano and strings. So I decided to take this literally and make a rule not to use any other instruments. In the script it called for the sound of a ticking clock. I made this sound by tapping on the body of the violin with my fingernails. The sound of an electric shock given to the patient is depicted by a quick, distorted piano chord. And all other droning and bass tones were made by extending and processing violin and/or piano tones, etc. Thank you very much for listening.” – Peter Broderick, March 2009

Tracks

01. Part 1: An Introduction To The Patient
02. Part 2: Patient Observation
03. Part 3: Pill Induced Slumber
04. Part 4: The Dream
05. Part 5: Awaken/Panic/Restraint
06. Part 6: Electroconvulsive Shock
07. Part 7: The Path To Recovery

Press

Audio & Video

TACOCAT - 'LOST TIME'

Formats

• HAR095 - LP

  0098787309515

• HARCD095 - CD

  0098787309522

• HARC095 - MC

  0098787309546

Details

Tacocat’s third studio album, Lost Time (an X-Files reference, doy), is their first with producer Erik Blood. “I would describe him generally as a beautiful wizard,” Nokes said, “who, in our opinion, took the album to the next level. Wizard level.” Blood’s sounds are wide and expansive, bringing a fullness to the band’s familiar sparkling snarl. The Tacocat of Lost Time are triumphantly youthful but also plainspoken and wise, as catchy as they are substantive. “Men Explain Things to Me” eviscerates male condescension with sarcastic surf guitar. On “The Internet,” they swat away trolls with an imperiousness so satisfying you want to transmogrify it into a sheetcake and devour it: “Your place is so low/Human mosquito.” Recorded with known wizard Erik Blood at two separate Seattle locations. Personnel notables: Emily Nokes (vocals, tambourine), Eric Randall (guitar), Lelah Maupin (drums), and Bree McKenna (bass, also of Childbirth). Tacocat have performed the theme song for the Cartoon Network’s relaunch of the cartoon Powerpuff Girls, which premieres in April of 2016. The band will be touring Europe in the Spring

Tracks

1. Dana Katherine Scully
2. FDP
3. I Love Seattle
4. I Hate the Weekend
5. You Can?t Fire Me, I Quit
6. The Internet
7. Plan A, Plan B
8. Talk
9. Men Explain Things to Me
10. Horse Grrls
11. Night Swimming
12. Leisure Bees

Press

Audio & Video