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Peter Broderick
Two Balloons

elektronika/ poważna
Erased Tapes, 2018

Średnia ocena klientów: -    oceń

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winyl : 59,90 zł
W magazynie: BRAK
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format : 10"LP
liczba nośników : 1
opakowanie : singlefold


nr tytuł play mp3
1 Two Balloons (Part 1) 01:09
2 Two Balloons (Part 2) 01:16
3 Two Balloons (Part 3) 02:47
4 Two Balloons (Part 4) 02:20
5 Two Balloons (Part 5) 01:22
6 Techno For Lemurs 09:06


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American-born multi-instrumentalist, singer and composer Peter Broderick will release a new extended player titled Two Balloons on November 9th with Erased Tapes. Available as a limited edition 10” vinyl and digital download, it features the score for the award-winning animation of the same name, inspired by an early recording of his, plus a 9-minute electronic rework on the B-side titled Techno For Lemurs.

Fairly often we see albums of “Music inspired by the film __”, but less common is a film inspired by music. Such is the case with Two Balloons. Director Mark C. Smith got the idea for his nine-minute stop frame animation film while out at sea, looking at a majestic funnel cloud in the distance. Shortly after he heard a song by Peter Broderick from one of his earliest recordings — 4 Track Songs — and the music struck a chord so strongly, he knew he wanted to make a film to fit the melody. And so began the five-year labour of love that would eventually produce this enchanting little film, currently circulating film festivals around the world and racking up countless awards and accolades including ‘Best Original Music Score’ at the New Renaissance Film Festival in Amsterdam.

Even though the film was inspired by an older Broderick composition, the score for Two Balloons was recorded from scratch, revised and expanded to fit each frame. The process of stop frame animation is a labour intensive and painstaking one, but the attention to detail didn’t stop at the picture for this film. The score was an integral part of the film from the very beginning, with both the director and composer going to great lengths to experiment not only with the composition itself, but also the fidelity. The first sound heard on the score is a piano playing a waltz figure, and the sound is noticeably lo-fi, but this isn’t just some modern digital trickery. This piano was recorded on a wire recorder, a recordi
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