Peter Broderick
Partners
originally published in issue #3 of The Cut-Up
Over the course of the past decade, multi-instrumentalist
and composer Peter Broderick has steadily compiled an eclectic catalog of
material ranging from singer-songwriter folk songs to sprawling ambient
atmospheres. In addition to his own solo
recordings, Broderick’s extensive discography includes collaborations with
avant-garde and modern classical composers, as well as work with Danish indie
group Efterklang, whom he has been a supporting member of since 2007. His latest effort, Partners, sees the artist continuing to explore new methods and
techniques, finding it’s main influence in John Cage’s experiments with chance.
Partners is extremely
minimalist in nature, in stark contrast to the lush arrangements of last years
delightfully eccentric Colours Of The
Night. Save for a few effects on the
production end, the majority of the album is simply Broderick at his piano. Having found himself reconnected to the
instrument while learning John Cage’s “In A Landscape”, it comes as no surprise
that his own interpretation is the albums opening number. Following a track of somewhat out of place
poetry, Broderick flows through Cage’s composition, calling upon multiple
versions and intertwining them with his own variations. The reverb rings out loud with each note,
creating an eerily seductive tone not found in the original.
Broderick continues with a series of originals, each finding
its own distinct character and feeling. Through
the turbulent, randomly assigned notation of “Under The Bridge” and the
thunderous crescendos of “Conspiraling”, the artist employs a number of
techniques to keep the listeners full attention. Broderick makes use of interesting rhythmic
patterns, accentuated notes and even hums along, making each moment of the song
as interesting as the previous.
“Carried”, the highlight of the record, is a piece as
haunting as it is serene. A vocal loop weaves
itself around the piano line as a rhythmic melody continuously builds. The two sounds play off each other, each
moving at their own pace, invoking an array of emotions. That’s where Broderick excels on Partners. He has an uncanny ability to command
narrative and mood in this stripped down setting that by the time the
melancholic “Up Niek Mountain” concludes you can’t help but to recognize the
power of his skillful playing.
The only track to feature Broderick in full vocal mode is
closer “Sometimes”. Here he takes on a
song written and originally recorded by his friend and once tour mate Brigid
Mae Power. Following a false start
showcasing the meticulous nature of the artist, Broderick plays a faithful
version, his voice wavering with the melodies as they rise and fall. It’s a pleasant, fitting ending to an outstanding
record.
Peter Broderick continues to impress with each release and
this is no exception. Partners isn’t the most accessible record
in his vast catalog, but it is one that certainly shines amongst the rest.
Peter Broderick - Carried - Partners
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