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★ 即將於10/1來台參與「2016 鋼琴音樂節」。
★ 美國多重樂器能手重返新古典氛圍新作。
★ John Cage為靈感，用鋼琴把玩機運作曲。
★ 小白兔唱片台灣獨家代理，英國原裝進口。
以John Cage為啟發，把握本質巧妙的「機會」，再加著Peter Broderick的往常，將細膩的生活片段織入。《Partners》以連續放送的方式，展現Peter Broderick不同面向的總和。有時是以民謠曲風的唱作形式出現，或展現其擁有多項樂器演出的才能，以溫婉的作曲描繪環境片段；抑或成為配樂家，為舞蹈以及紀錄片作景；也能是位製作人，與烏克蘭鋼琴家Lubomyr Melnyk合作、製作其在Erased Tapes發行的第一張作品《Corollaries》。
2016年新作《Partners》中樞為John Cage啟發的靈魂，無法捉摸且迷人的巧合—「機會」。開頭可聽見Peter Broderick唸著以John Cage的Mesostics poem為寫作基準的詩詞。聽似斷裂的組合，是由擲骰子所決定一切排列與語詞順序，奉持著純然以機率為題，連專輯名稱“partners”也只因是最後一首詩的最後一個字而成立。
重新詮釋John Cage 1948年作品“In a landscape”是構成《Partners》運轉的心臟。保持原作的滋味、踩著兩片延音踏板，使這些因為巧合而集聚的音符自個產生微妙的空間感。反覆聆聽、拆解“In a landscape”，也使Peter Broderick有了自己的實驗作—“Under The Bridge”。同樣以擲骰子的方式完成，決定音符編排的序列，與“In a landscape”有著相同零碎的構成，再添著微弱的背景音，宛若團聚而起的輕盈空氣塊。緊接著早已演出多次的舊作“Carried”，標誌性柔和的人聲循環、隨之爬升的琴音延長反覆著主題弦律，構起情意滿滿的牽魂柔軟。在“Conspiraling”也可聽見人聲與錯落的琴鍵聲合而為一的微妙相疊；或獻給他在荷蘭留駐時所認識的朋友，析取“In a landscape”幾段落而成的“Niek Mountain”。雖僅是鋼琴聲與不同環境音、人聲的搭配，卻可以明顯感受Peter Broderick在小細節中躍動的溫和與親近。
最後一首，歸來Peter Broderick乾淨的嗓子。“Sometimes”是翻唱愛爾蘭詞曲唱作人Brigid Mae Power的作品，收錄在今年甫發行，Peter Broderick也一同參與錄製的同名專輯。保留著因彈錯的碎念，延長作品中常態的日記感。而後忘情而微微顫抖著的嗓音，彷彿瞬間壓縮到只有一人存在的暫留時空。
因緣際會走進了John Cage的思維裡，Peter Broderick選擇將自身從音樂中脫離。這次，他不聽任何成品，一切交由製作人決定。《Partners》盡像是許多零碎因素下能展現的最大巧合，每一寸的細膩與規矩孕育著出現的機會。正如Peter Broderick所想像的場景：在未來的某一天裡走進咖啡店，突然聽到《Partners》，成為那些生活中的不同平行線交疊而聚發的那一刻。 (Words by Joanna)
In an email to Robert on February 3rd 2016:
Dear Robert.
There s a lot Id love to tell you about this music.
The inspiration really came when I decided to learn to play John Cage s In A Landscape on the piano . . . I listened to a recording I had over and over again, five seconds or so at a time, picking out every single note. Then cross referencing what Id learned with other versions of the piece as well as the original score. The feeling of playing this piece really brought me close to the piano again, and brought new life to my own piano songs.
Beyond Cage s music, his life and practice have interested me more and more, after having read about his love for foraging wild foods and using chance operations to compose music, in a sense taking his "self" out of the music. I love his so-called "mesostics" and began to write several poems using that method, around this phrase:
I
N
A
L
A
N
D
S
C
A
P
E
When it came time to record in the studio, I rolled two dice to decide how many poems to read. I rolled 5. Then I assigned a number to each poem and rolled the dice to see which five poems would be read and in which order. That s the first track Partners, which is also the last word of the last poem I selected through this chance-based process. Track two is my version of In A Landscape. I love playing that piece so much. Carried is a piece I wrote in Berlin which Ive played live from time to time. There was a soft vocal loop playing out through an amplifier in the room while I played the piano.
Under The Bridge is my first ever chance-based composition, written by assigning different numbers to different notes and then rolling dice to decide in which order to play those notes. Conspiraling is another piece Ive been playing for a while. Actually a version of this was recorded in the session that became "How They Are", but it didnt quite feel right. I like to pretend my voice is like a synthesizer in this song. Then there s Up Niek Mountain which is a piece I finished composing while in residence at a farm in the Netherlands back in 2010, and is named after one of the family farmers there, Niek, who passed away shorty after I was there. We miss you Niek. The last song is a cover of Brigid s Sometimes. Brigid to whom I dedicate this recording.
And then there s Tucker, Mr. Martine, who agreed to record this album without me ever hearing the mixes. We talked about all the sounds and he set up several devices with which to manipulate the sound live, as it was being recorded and mixed down to tape. Francesco also agreed to master the record without me hearing it. I like to imagine maybe one day, five or ten years from now, Ill walk into a café or roadside diner and hear it for the first time, playing as background music while people eat.
OK surely that s enough for now! Sorry for blabbing, Robert. Your support has really meant a lot to me. Ive loved having you in mind while working on this project, knowing it could very well have a home on your sweeeeeet label. Hope all is well.
With love,
Peter
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BBC 6 MUSIC
"Drifting deep into the night" – Mary Anne Hobbs
STEREOGUM
"From our vantage point its a pretty mesmerizing experience."
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