This movement of new classical began long before currently known artists
――In works such as http://www.itstartshear.com or “These Walls Of Mine”, you have taken on creative efforts with an eye to the changes of the world in the post-internet era. Times have moved forward since then and we are now at the height of music streaming. What do you think about this? Also, what kind of inspiration(s) has the internet given you in terms of your creative work?
I don’t have much opinion about music streaming. Some artists seem to be concerned that streaming does not earn them enough money . . . but this is not how I feel. Perhaps if someone streams my music, this might encourage them to come to a concert of mine, and then if they like it they might consider buying a record from me in person there. This scenario is wonderful!
――Absolutely.
I used to be quite active with social media and internet communication . . . but these days I am moving in the opposite direction . . . I try to avoid the computer as much as possible, I don’t subscribe to any social media, and I purposefully do not have a smart phone. Five years ago I was very inspired by what I found on the internet, but nowadays I am much more inspired by what’s right in front of me and what’s outside in the the wild natural world!
――You are a piano lover to the extent of writing the track “I Am Piano”, but are there any pianists who have inspired you? Also, who is your most favorite pianist now?
If I have to pick a favorite pianist now, I would say Nina Simone. She is so incredible!
――You created a sensation with “Colours Of The Night” for having a back band for the first time. What brought you to decide to play band music on this album?
‘Colours Of The Night’ was recorded in the beautiful little town of Luzern, Switzerland. I had passed through there several times to perform, and managed to become friends with some lovely people there. Those lovely people later invited me back to come and work on some more extended projects, instead of just passing through for one night to play a concert. At some point they said, ‘Hey, why don’t you come and stay here for a few weeks, and we’ll put you in a studio and put a band together to play with you, and you could record an album here?’ I took them up on that generous offer and that’s how the album came about. All of the musicians on the record I had never met before arriving there!
――We hear that “Partners” was inspired by John Cage’s chance operations. What, at that time, made you interested in ‘chance-controlled’ music?
I was inspired after reading a biography of John Cage called ‘Begin Again’. It seemed to me he was so devoted to his craft, and I loved that idea that even though he worked so hard night and day, he was created things that were not at all about his own ego. Whereas most musicians tend to make music that they think sounds good and has somewhat of a desirable affect for the listener, Cage seemed more interested in exploring the unknown, without much regard for aiming to have the music affect the listener in any particular way. I used the rolling of dice to help compose a couple tracks on ‘Partners’, and also brought in the element of chance by inviting the recording engineer, Tucker Martine, to manipulate what I was playing live with some different effects, without ever listening myself to what he did.
――You are proactive with collaborative works too. You have collaborated with or made guest appearances for many artists, such as Sharon Van Etten, The Album Leaf or Nils Frahm. How do these collaborative experiences make an effect on (or are reflected in) your own works?
I feel that I always take something different from each new collaboration. Sometimes this is a direct inspiration, such as when I heard Nils Frahm play the piano and was encouraged to be more expressive on the piano myself. My experience with Nils also opened me up more to the world of jazz, which was virtually unknown to me before. Sometimes I learn what I don’t want to do when collaborating with others too… It’s different every time and all of these collaborations have helped me to grow!
――Out of the musicians you have collaborated with in the past, the works with Nils Frahm, whom you toured together with in Japan in 2011, appeared to be something special for you. We understand you invited him to work as producer for “http://www.itstartshear.com”. What are the things you like about Nils Frahm as an artist?
Beyond being a wonderfully talented pianist, Nils has a real gift in the studio. I learned a lot from watching him record and mix music at his home studio. He has a very strong vision.
――What is the appeal of the label Erased Tapes for you? Also, you seem to be changing the label you release from, depending on the content of your recording. Could you please tell us the intentions behind this?
Robert Raths, the founder of Erased Tapes, is a wonderful man with a big heart. Many artists such as myself lack business skills or motivation to engage in the business world, and Robert is very good with these things! I admire his unique vision and innovative style. I have worked with many record labels in the past because I have always had a hard time saying no when I have been approached with a nice offer, and many different labels have contacted me over the years. Perhaps in the future I will not work with so many different labels.
――Including fellow musicians at Erased Tapes such as Nils Frahm or Ólafur Arnalds, we are seeing an emergence of musicians deeply influenced by classical ~ modern music, creating avant-garde sounds. What are your thoughts in such trend?
For me this movement began long before Nils Frahm and Ólafur Arnalds, with composer such as Sylvain Chauveau, Max Richter, Johann Johannsson and Rachel Grimes. And I think some would argue that it began much earlier with Erik Satie and later Philip Glass, Terry Riley and Steve Reich. I was certainly inspired when I heard all of those composers as a teenager!
Very excited to perform so naked with only the piano
――Finally, let us hear about your tour to Japan in September. First of all, what are going to be the highlights of your shows?
Actually I am planning to perform with only piano and voice this time . . . very stripped down! Though Brigid will have a guitar, so if someone really wants to hear a song on the guitar, that should be possible as well. But personally I am very excited to perform so naked with only the piano. I am perhaps especially excited to play some older songs which were originally written the guitar, which I have rearranged to be played on the piano. And I will also be performing very old piano songs of mine, from my very first releases, which never got to be performed live much (if at all), as well as the newer material from ‘Partners’, and some cover songs as well!
――As supporting act, you will be bringing on stage the Irish singer-songwriter, Brigid Mae Power, who has just released her first album “Brigid Mae Power” that was produced by you. What aspects of her were you drawn to?
I love the raw expression that flows so naturally in Brigid’s work, both in her music and her visual art※. She is a true artist in the sense that when she goes to create something, her unique character emerges immediately without having to be forced at all. What she does feels so honest to me. And on top of being a wonderful artist, she is an incredibly kind and lovely person!
※Brigid creates her own album arts by herself. The portfolio of her works are available to view on her official website
Brigid Mae Power’s “Brigid Mae Power” (2016)
――This would be the second time for you to come to Japan ever since your tour in 2011. Were there any encounters or experiences that left an impression when you came 5 years ago?
I must admit that upon visiting Japan the first time, I felt that I understood the term ‘culture shock’ . . . it is a very different world from western Europe and the USA, where I have spent most of my time. There are so many things I love about Japan. I truly admire the respect of traditional culture that is present. I found that people were incredibly accommodating and very kind . . . I never received so many gifts on a tour before! I also had some of the most incredible food experiences of my life in Japan. There is a jazz bar in Tokyo that I would love to visit again if I have the time, and I’d also love to go to onsen in the mountains again if there is time!
――As a final question, out of what you’ve listened to lately, please tell us the album that you found most impressive.
The album I got most excited about recently was ‘Bad Mr. Mike’ by Michael Hurley . . . he is a 75 or so year-old man who lives in Oregon, and just released his latest record . . . very raw folk music . . . very special!
Peter Broderick Japan Tour 2016 “Partners”
Friday, September 23rd papparayray, Fukuoka
Saturday, September 24th Former Rissei Elementary School, Kyoto
Sunday, September 25th valentinedrive, Nagoya
Monday, September 26th Inryoji, Okayama
Wednesday, September 28th Lutheran Ichigaya Hall, Tokyo
Thursday, September 29th Fluss, Tokyo
