Peter Broderick: I would love to score a film by Miranda July

July 23, 2014

Sounds Of A Tired City gives Greg Gives Peter Space space (yes, you read that right) once again. After talking to Greg Haines, now it’s time to meet the playful brain and voice of the project: Peter Broderick. Some questions might seem familiar after reading the previous interview, but when it comes to a collaboration it’s always rather interesting to unveil how similar ideas could be perceived differently at the same time. We asked Peter about his impressions on their recent tour, returning to the USA after living quite a few years in Europe, film and photography, and last but not least: poetry. He also shares one of his special poems with us, which has not been featured in any of his songs – yet!

Peter Broderick & His Cat

Peter Broderick & His Cat

Your latest collaboration project, Greg Gives Peter Space showed quite a ‘new’ side of yours to the broad public. You and Greg have been planning to collaborate for a long time, but somehow it never happened.

Last year I moved back to America after living in Europe for about six years, Berlin for the last three… and actually, after I moved away and then went back to visit friends in Europe, Greg and I seemed to get more work done. Perhaps because our time together was more limited. I guess when I lived in Berlin, there was a feeling that we could take our time and finish something whenever… but now that I live across the world, we can focus a bit more when we do get to see each other.

Greg made quite a change in his musical career with his last album ‘Where We Were’ and now with ‘Greg Gives Peter Space’. Even though you are involved in numerous ensembles (Loch Lomond, Norfolk & Western, Laura Gibson’s band etc.), you always seem to return to the same pace and atmosphere, no matter who you work with. Could you imagine abandoning all this and doing something totally different, to try out a whole new genre? If yes, what style would that be?

I feel like I’m always trying to expand my musical boundaries and try new things… I got really into trying to rap and make hip-hop beats for a while… I’d love to try making some super dance-floor style music one day. I like the idea of making an album only using my voice, whatever style that ended up being in… We shall see what happens in the future!

Is there anyone else that you’ve been planning to collaborate with but never happened? Is there someone with whom you would secretly love to work together with but they don’t know yet?

For a while Greg was one of those people whom I planned to collaborate with but it never worked out… but now we finally put out a record together and started to play some concerts! I recently watched an interview with Rick Rubin, and that made me dream of working with him one day.

You have a large number of collaborations in your discography and even when you are working on your individual projects – you are never really alone when it comes to the instrumental execution. How do you decide who would you like to work together with? Every single choice of yours seems to be extremely personal. Did it ever happen to you that you really wanted to work with someone but somehow your energies never been on the same wavelength?

It’s always interesting to see how well you work together with people. There have been many instances in which I collaborated with people online, without even meeting in person, and then one day we met in person and actually didn’t have much of a chemistry… or at least a very a different chemistry than the one my mind had constructed. I try to be very much aware of these chemistries and to work with people who bring out a positive energy in me.

You’ve been touring around Europe with Greg Gives Peter Space visiting the UK, France, The Netherlands, Germany – and more gigs to come in the fall. When it comes to your solo projects, usually you play for a seated audience. Was this any different in the case of Greg Gives Peter Space? Were people actually dancing?

Oh yeah! Especially our recent concert in Berlin… it was hot and sweaty and the whole room was moving!

What are your impressions and experiences after the mini-tour? How did the public welcome the new project? Did you get any surprising feedback?

I feel like our shows were well received… and I feel like there’s still a lot of room for us to expand on these ideas and delve deeper into this project. It really was a great feeling to see people dancing.

You’ve lived most of your life in the US, but moved to Europe almost for a decade. How would you compare living in Europe to living in the US? What do you like the most about it?

I’m back in the USA since last summer. Europe and the USA are actually not so different, at least if you compare the difference to something like Europe and Asia… There are a lot of little differences. Of course I appreciate the support for the arts in Europe, that the arts are often times funded by the government, which acknowledges that art is a great part of our culture. But the USA is where I’m from, where my family is, where my roots are. And I absolutely love the food culture in the Pacific Northwest… yum!

You work quite often with photography, you are behind numerous cover artworks as well. You’ve studied filmmaking back in Portland. How did you get in touch with moving images and who would you say inspires you the most when it comes to photography and cinema?

I started experimenting with filmmaking at quite a young age… first for making skate videos when I was heavily into skateboarding, then eventually making short films with music to go along with them… I can’t think of any specific influences in photography and cinema, I just like to play around! These days I’m more focused on music though…

You’ve been involved in a few film projects, ‘Now Is Good’ (featuring ‘And It’s Alright’ from ‘Home’) being probably the most successful one among them. Is there any particular film director you would like to work together with to compose a whole score?

I would love to score a film by Miranda July.

Could you pick one of your favourite album covers?

I think this record cover for ‘The Driver’ by Félicia Atkinson is really beautiful:

Félicia Atkinson - The Driver

Félicia Atkinson – The Driver (Hibernate, 2011)

What’s cooking in the studio right now? What should we keep our eyes and ears on?

This summer I’ll be working on film scores, and also helping a couple friends record some of their own songs. I just recently finished recording a new solo record in Switzerland, so at the moment I’m not super active in the studio. Definitely keep your eyes peeled for a new EP coming out on Bella Union in the Autumn, followed by a new album next spring.

Who would you like to read an interview with on Sound Of A Tired City?

David Allred.

You often times turn your poems into lyrics and use them on your albums. Would you mind sharing a poem with us that has never been transformed into audio format?



there comes a time



is required

there comes a time for an end

there came a time when this began

at first i thought it was love

at many points i thought maybe it was love

maybe it’s love

there came a time

when i wondered

if it was


at many points

i wondered

i wonder

i thought about the sad masculine truth

“he just wants to get in her pants.”


i don’t wish

to get in your pants


i wish



your pants

a single pair of pants!

worn every night and day

from now



take me off whenever you like

to use the toilet

and bathe yourself

to get


with another person



i am your only pair of pants

i won’t ever ask for a thing

you’ll likely never even hear me

and if the


i create

starts to bother you

it’s likely something else







Erased Tapes Records


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