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Music for Confluence

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Reseña de álbum

Composer and session musician Peter Broderick is prolific. This soundtrack to this documentary film by Vern Lott and Jennifer Anderson is his ninth full-length since 2005. The subject of Confluence is a series of unsolved crimes in the Lewiston-Clarkston Valley of Idaho where the Clearwater and Snake rivers meet. The real-life premise is grizzly and baffling: five residents of the region go missing between 1979-1982; yet only three bodies are found, murdered in particularly brutal ways. The unfinished investigation centers on a single suspect who was never charged. Broderick's 13-cue score is eerie to be sure, yet while the film's subject matter is quite grim, these tracks don't get there all that often. These cues are mysterious, opaque, sometimes suffocatingly intimate, and melancholy. They never resort to standard true crime film tropes (aside from some of their titles). There is precious little in the way of dynamics shifting here. Pianos, strings — played and scraped — guitars, sound effects, field recordings, and sparse percussion populate these pieces. The depth of eeriness on the opening theme "The Valley Itself" is beautiful, if anything. A lone female vocalist — Arone Dyer — sounds like Liz Fraser wordlessly vocalizing in a 19th century American parlor, absentmindedly singing to a piano in the backdrop. From here, the music becomes, ever subtly, more mournful — the languid piano in "The Last Christmas"; the gradual increase and decrease of drama from the strings and Dyer's layered backing vocals in "Some Fisherman on the River"; the raw, rural viola tinges in "She Just Quit Coming to School" interspersed amid fluffy, atmospheric sound clouds. The only track where any real tension occurs is "The Person of Interest" (the suspect has more of an identifiable theme than any of the victims). Rankled layers of strings, guitars, and piano and effects all collude in what amounts to a composition that could accompany a more minimally adorned chase scene in a thriller. Broderick sings on "The Old Time" — the closer — with Dyer. Because it is an actual song, it feels simultaneously out of place here while seamlessly summing up the dozen pieces that precede it. Music for Confluence may lack the usual highs and lows associated with film scores, but it more than compensates for them with its sad, yet lovely strangeness.

Reseñas de usuarios

Headphone Commute Review

Peter Broderick surfaced on the scene of modern classical music back in 2007, with his debut release on Kning Disk, titled Docile. He was immediately picked up and introduced to a larger audience by Type with a pair of his critically acclaimed contemporary ambient and neofolk albums, Home (2008) and Float (2008). Since then, all eyes and ears have been on his progress, as he continued to impress the world with his solo and collaborative output on Fang Bomb, Slaapwel Records, Digitalis Limited, Bella Union and Hush Records. In 2009, Broderick signed on to Erased Tapes Records for his neo classical album, Music For Falling From Trees.

Besides being a touring member of Efterklang, Broderick somehow manages to find the time to release all of this gorgeous music, collaborating with Nils Frahm (see their Oliveray project), appearing on Dustin O’Halloran‘s collaboration with Adam Wiltzie, A Winged Victory For The Sullen on violin, and even working with Clint Mansell on the Last Night soundtrack! And may I mention that Peter is only 24 years of age! Music For Confluence is actually a soundtrack for a documentary by Jennifer Anderson and Vernon Lott:

On the album, Broderick composes texture rich soundscapes with his violin and piano. Given the background of the film, the music is not too somber, sad or melancholic – instead it floats in a neutral key around a somewhat cloudy atmosphere of sounds, gradually building up in layers, tension and unease. Since Broderick is a prolific multi-instrumentalist, the compositions sound at times as if they are performed by a small orchestra, while indeed, all of the stringed instruments, sparse electronic effects, and gentle piano keys come from a single mind.

Having not seen the film, the dramatic story reveals itself through music and track titles, such as “The Last Christmas”, “We Didn’t Find Anything”, “She Just Quit Coming To School”, “It Wasn’t A Deer Skull”, “He Was Inside That Building”, “Circumstantial Evidence” and “Until The Person Is Apprehended”. All of these paint a picture of an unfortunate event without a possible resolve, leaving us aching for an answer, and inevitably more music from this wonderful musician…


this is what i have been waiting for, for a long while :) good job PETER BRODERICK!! GOOD JOB :D :D

Music for Confluence, Peter Broderick
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