Perhaps it’s possible to stop comparing some contemporary classical musicians to Max Richter, and instead start comparing them to Peter Broderick. After releasing a 7″ single on John Twells‘ (aka Xela) Type Records, Portland-based Peter Broderick emerges with a full-length album, Float. For this release, Broderick enlists his friends Amanda Lawrence for string and vocal work, and Skyler Norwood for assistance in recording and effects, following their collaboration on Loch Lomond’s Paper The Walls (Hush Records, 2007).
Float is immediately bold, familiar, and elegant. As with any soundtrack composed for a passing life, it resonates its message beyond the minor key. At first, the album seems too comfortable, like a soft blanket draped over icy winter feet. I feel as though I’ve heard this sound before, perhaps in a forgotten film, or as a fragment of a cherished prelude. But as I allow my mind to dissect the composition, the messages begin to surface. I’ll leave you to discover your own details – it would be a shame to confine the music to words. Broderick’s banjo playing adds an intriguing element to the ensemble of the usual piano, strings and occasional guitar. 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 suggest that modern classical music is at the dawn of a new cycle? Young multi-instrumentalists who incorporate both organic and electronic elements are leading the way. Highly recommended! A cosy cinematic score. Check out the aforementioned artists, plus Harold Budd, Michael Nyman, Alberto Iglesias, Clint Mansell and of course Jóhann Jóhannsson.
