This is the debut full-length release from Oregon's Peter Broderick. In the last few years, the world has seen its fair share of musicians give up the trusty guitar in favor of the piano, the banjo and even the French horn... more », but rarely do we find a musician who seems so perfectly suited to any and every instrument he cares to try. Float is the ideal showcase for Broderick's well-honed instrumental talents, blending his love of folk music, classical music and good old-fashioned indie-pop. After the release of his Docile EP on cult Swedish label Kning Disk, there was no doubting his piano playing skills, but here we see the piano joined by violins, cello, drums, banjo, guitar, vocals and so much more, resulting in a dense and varied collection of tracks. An easy comparison might be Efterklang, the Danish band who Peter currently performs with, but Float could just as easily be linked to the work of Max Richter, Sylvain Chauveau and the Portland, Oregon scene which birthed him. Float is an album which has a definite narrative -- a fan of film and film soundtracks, Peter decided early on to make an album which was not simply a collection of random tracks. Themes appear and reappear, motifs signal different acts and characters, sometimes in the shape of instruments themselves, dropping in and out as if through some thick French cigarette smoke. Even the titles of the tracks tell a story, and as you listen to the album, subconsciously you follow a captivating broad narrative arc that links each piece together. This is thoughtful, carefully-constructed, significant new music from a young talent who is quickly catching on fire.« less
This is the debut full-length release from Oregon's Peter Broderick. In the last few years, the world has seen its fair share of musicians give up the trusty guitar in favor of the piano, the banjo and even the French horn, but rarely do we find a musician who seems so perfectly suited to any and every instrument he cares to try. Float is the ideal showcase for Broderick's well-honed instrumental talents, blending his love of folk music, classical music and good old-fashioned indie-pop. After the release of his Docile EP on cult Swedish label Kning Disk, there was no doubting his piano playing skills, but here we see the piano joined by violins, cello, drums, banjo, guitar, vocals and so much more, resulting in a dense and varied collection of tracks. An easy comparison might be Efterklang, the Danish band who Peter currently performs with, but Float could just as easily be linked to the work of Max Richter, Sylvain Chauveau and the Portland, Oregon scene which birthed him. Float is an album which has a definite narrative -- a fan of film and film soundtracks, Peter decided early on to make an album which was not simply a collection of random tracks. Themes appear and reappear, motifs signal different acts and characters, sometimes in the shape of instruments themselves, dropping in and out as if through some thick French cigarette smoke. Even the titles of the tracks tell a story, and as you listen to the album, subconsciously you follow a captivating broad narrative arc that links each piece together. This is thoughtful, carefully-constructed, significant new music from a young talent who is quickly catching on fire.
CD Reviews
Headphone Commute Review
Headphone Commute | 06/30/2008
(5 out of 5 stars)
"Perhaps it's possible to stop comparing some contemporary classical musicians to Max Richter, and instead begin comparing them to Peter Broderick. After a release of a 7" single on John Twells' (Xela) Type Records, Portland based Peter Broderick emerges with a full length album, Float. For this release, Broderick borrows his friends Amanda Lawrence for string and vocal work, and Skyler Norwood to aid in recording and effects from a collaboration on Loch Lomond's Paper The Walls (Hush Records, 2007). Float is immediately bold, familiar, and elegant. As any soundtrack written for a passing life, it transcends its message past the minor key. At first the album sounds too comfortable, like a soft blanket thrown over the frigid winter feet. I feel as if I've heard this sound before, perhaps in a forgotten film, or as a fragment of a beloved prelude. But as I let my mind break down the composition, the messages begin to emerge. I'll let you hear your own details - I'd hate to lock the music into words. Broderick's banjo playing adds an interesting element to the ensemble of the [usual] piano, strings and an occasional guitar. And I can't help but draw a parallel between the ages of Broderick and Ólafur Arnalds - both are only twenty one! With that said, may I claim that modern classical is at the beginnings of a new cycle, with young multi-instrumentalists incorporating both, organic and electronic, leading the way. Highly recommended! A cozy cinematic score. Check out above mention artists plus Harold Budd, Michael Nyman, Alberto Iglesias, Clint Mansell and of course Jóhann Jóhannsson."
Atmospheric soul
Leggi | Toronto, Canada | 10/06/2008
(5 out of 5 stars)
"A very interesting guy. If you're into instrumental music that is sparse, cinematic, atmospheric, you should check him out. Some may compare him with Harold Budd, Nyman, or Martens, but make no mistake, it's not a minimalist stuff. This music has soul. Very simple on the surface, he never fails to be interesting. Wonderful!"
Broderick is an exciting prospect
Benjamin M. Rutter | Oklahoma City, OK | 05/04/2009
(5 out of 5 stars)
"I picked this album up after reading numerous positive reviews on some trusted sites and I was not dissapointed. If you enjoy Max Richter, Goldmund (Helios), Eluvium or any similar artists this really is worth checking out. It has a beauty about it that is haunting. It is also a consistently strong album, absorbing from start to finish. Peter Broderick seems to have a great deal of talent and I sincerely hope he continues to produce music of this quality."
Indescribably beautiful
Lonny D. Stark | 04/01/2009
(5 out of 5 stars)
"Any fan of atmospheric, ambient, or cinema music should surely listen to this album.
The entire set of ten songs is wall-to-wall pleasure, but the first song, "A Snowflake," is utterly delightful. I can't say enough about this song, so lively and dazzling and childlike in its playfulness. Five minutes after hearing it for the first time on Public Radio's Echoes, I was placing an order.
Technically, Broderick's music is rich and textured, and always interesting. It's possible to pull back and admire the mechanics of the sound and marvel at how well the music is layered together. Possible, but not easy, because the mood of this music sweeps you away."