Music For Confluence Peter Broderick

Album info

Album-Release:
2011

HRA-Release:
17.09.2014

Label: Erased Tapes

Genre: Soundtrack

Subgenre: Film

Album including Album cover

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FLAC 44.1 $ 14.90
  • 1In The Valley Itself02:59
  • 2The Last Christmas01:44
  • 3We Didn't Find Anything02:03
  • 4Some Fisherman On The Snake River04:26
  • 5We Enjoyed Life Together01:46
  • 6She Just Quit Coming To School02:07
  • 7It Wasn't A Deer Skull03:05
  • 8What Was Found02:17
  • 9He Was Inside That Building06:42
  • 10The Person Of Interest05:27
  • 11Circumstantial Evidence03:25
  • 12Until The Person Is Apprehended06:50
  • 13Old Time03:25
  • Total Runtime46:16

Info for Music For Confluence

The in Berlin living Peter Broderick has established himself as a composer in his own right, may it be as a touring member in Efterklang, collaborating with label mates Nils Frahm and Dustin O’Halloran, or most recently, working on the Last Night soundtrack with Clint Mansell. His innate gift as a musical medium, picking up any instrument to turn his musings into songs, has won the 24-year old American composer many hearts worldwide. „Music For Confluence“ follows on from his contemporary dance scores. Created for documentary filmmakers Jennifer Anderson and Vernon Lott, the soundtrack takes the listener through waves of stark emotions.

Created for documentary filmmakers Jennifer Anderson and Vernon Lott, the soundtrack takes the listener through waves of stark emotions.

„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…

„Berlin-based boy wonder does it again. Who would have thought the musical accompaniment to a film about a series of Idahoan murders could be so beautiful? There’s such an abundance of fragile sweetness here – delicate piano arpeggios, whispered tones, glacial strings – that the incremental creep of wickedness pervading beneath the sleepy surface can go undetected, until you find yourself fully entangled in its hex.“ (BBC Music)

„The biggest compliment you can give this record is that it stands alone as a wonderful piece of music without the film it has been made for; you can hear the story in the songs. Broderick has created not only a wonderfully haunting soundtrack but he has also created an album of the same merit. 9/10“ (This is Fake DIY)


Peter Broderick
born 1987 is an American born multi-instrumentalist and singer. In his later teenage years he became entwined in the Portland (Oregon) indie folk scene, recording for the likes of M. Ward, Laura Gibson and Dolorean. 2007 saw him moving across the ocean to Denmark, where he began a long collaboration with the band Efterklang, touring the world with them for the next five years. Meanwhile he recorded several albums of solo material, ranging from sparse classical compositions (Float) to homemade folk music (Home), constantly experimenting with different musical genres, and also being commissioned to write music for several films and contemporary dance works. He then lived in Berlin for several years where he met and collaborated with Nils Frahm, Dustin O'Halloran and several others. He now lives back in America, near where he grew up, and continues to travel the world performing solo concerts and collaborating with a vast array of different musicians and artists.

This album contains no booklet.

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