La siembra, la espera y la cosecha
January 12, 2010
Music and words by Raúl Pastor Medall
Produced by Adam Selzer with Dave Depper and Raúl Pastor Medall
Recorded at Type Foundry, Portland, OR
Additional recordings at home in Castellón and Madrid, Spain and Portland, OR and at La Seta Azul, Benicàssim, Spain by Juan C. Tomás
Mixed by Adam Selzer at Type Foundry, Portland, OR
Mastered by Carl Saff, Chicago, IL
Artwork by Raúl Pastor Medall, with fragments of a reproduction of Westfälische Wassermühle, 1863 by Andreas Achenbach
Layout by Rob Jones
Adam Selzer: Acoustic and Nylon Guitar, Electronic Tanpura, Lap Steel, Organ
Charlie Bautista: Piano
Rachel Blumberg: Drums, Glockenspiel, Percussion, Sleigh Bells, Voice
Heather Woods Broderick: Cello
Santi Campos: Voice
Juanjo Clausell: Accordion
Chad Crouch: Bells, Celeste, Percussion
Dave Depper: Acoustic Guitar, Bass, Upright Bass, Piano, Organ, Voice
Laura Font Hurtado: Voice
Laura Gibson: Voice
Amanda Lawrence: Viola
Jason Leonard: Bow Resonator Bells, Belleplates
Vicente Ordóñez: Voice
Raúl Pastor Medall: Acoustic and Nylon Guitar, Banjo, Bass, Percussion, Piano, Voice
Julio de la Rosa: Mandolin, Vocals
Laurel Simmons: Mandolin, Voice
Ritchie Young: Voice
TIEMPO DE & PACÍFICO EPS
May 13, 2008
HUSH Records / Borne Recordings
HSH098 / BR006
January 11, 2011
LP, CD, DL
Music and words by Raúl Pastor Medall
Interludes and improvisations by Peter Broderick
Produced by Raúl Pastor Medall and Peter Broderick
Recorded at home in Portland, OR, and in a barn in Carlton, OR
Additional home recordings in Spain at Mas del Castanyero, Castellón, Spain and Portland, OR at the Whole Child Montessori Preschool
Additional studio recordings by Adam Selzer at Type Foundry, Portland, OR and by Juan C. Tomás at La Seta Azul, Benicàssim, Spain
Mixed by John Askew at Scenic Burrows, Portland, OR
Mastered by Nils Frahm at Durton Studio, Berlin
Vinyl Cut by LUPO at D&M, Berlin
Design by Raúl Pastor Medall and Rob Jones
Layout by Rob Jones
Painting by Chad Crouch
Peter Broderick: Accordion, Electric Guitar, Field Recordings, Glockenspiel, Mandolin, Musical Saw, Percussion, Piano, Violin, Voice
Heather Woods Broderick: Cello, Flute, Voice
Chad Crouch: Soundscapes & Programming
Nicholas Marshall: Voice
Raúl Pastor Medall: Acoustic, Electric and Nylon Guitar, Bass Pedal, Glockenspiel, Marimba, Marxophone, Pump Organ, Percussion, Voice
Laurel Simmons: Voice
El lobo, la Liebre y la Panza del Burro
Si me quedé sin nadar en el río fue que no vi claro en el fondo, y se quedó todo a orillas / y si me quedé sin subir el camino pendiente fue que sólo vi nube gris en la cima, como panza de burro / y menos mal que todo lo nuevo esta en el camino, y crece salvaje, esta en el camino, y crece salvaje, como un manantial
If I did not swim in the river it was because it didn’t see clear in the bottom, and everything remained ashore / and if I did not climb the steeply slope it was because I only saw grey cloud at the summit, like the underbelly (rumen?) of a donkey / at least everything that is new is on its way, and it grows wild, it’s on its way and it grows wild, like a water spring
Redoblan las lunas llenas y no nos asustan, a nosotros no / redoblan más lunas llenas y no nos asustan eso era antes / y somos mas lobos que santos de cruz, o es que no lo ves / y no bajes velas, que no hay temporal, es solo tu miedo a llegar
Sin querer yo te empuje fuera de la luz o algo peor, y luego me escondí como una liebre, me escondí de ti / y vi pasar las nubes en trozos, buscándose entre si, como advirtiendonos: se os olvidó, el tiempo es un músculo; que estúpido es tenerlo siempre tenso / si conseguimos ser la mitad, la mitad, la mitad, la mitad, la mitad de cuando nos dijimos ya verás, esta vez, ya verás, esta vez, esta vez si
Y cuando casi ya no nos reconocimos nos vimos correr hacia donde antes hubieramos huido / y tengo un mapa y tengo un plan, tengo un mapa y tengo un plan….para cuando ya no nos reconozcamos
Camine hasta perder de vista el rastro, y dime volveras? O te defenderas y construiras el Castillo mas alto / y quedara todo afuera, y tendre que enviarte un pajaro, y el mensaje que trae es que construire la escalera mas alta / si he de perder el vuelo, que no sea nube a nube
Andamos todo en la lluvia, y nos llenamos de agua, y cuando nos llego el tiempo de las grietas nos vimos las caras en el astillero / y con nuestros cuerpos movimos las aspas como en un Molino, y empeze a escuchar las voces otra vez limpias, ya no rasgaban como lata / yo quiero la voz limpia, yo quiero la voz limpia como el molino de aspas, que sube el agua tan limpia
Full moons are drumming up, we have no fear, not us / full moons are drumming up, we have no fear, that was time ago / we are already closer to wolfs than to saints in a cross / don’t you see? / and do not take down the sail, that there is no sea storm / it is only your fear to arrive
I remember I just got back from swimming in the river with some friends. We had been swimming at nighttime, in the John Day river, near Fossil, OR, three and a half hours northeast of Portland. While swimming, I saw three shooting stars in one hour and, fortunately, no snakes. The night was overwhelmingly quiet out there, the spaces wide open and we saw some deer around the house we stayed at. Silence had refreshened my ears. Back in Portland I listen to the first mixes of Réplica. Peter had just left for Europe. I remember I wrote these words reacting almost instantly to those first mixes, writing this as my mid traveled through the vivid memories of how Réplica had come to a reality.
The first time I saw Peter Broderick he was on stage, playing with Laura Gibson. It was the winter of 2006, and they were playing at one of my favorite venues at that time, the old Mississippi Studios, in North Portland. I was stunned. Not only by the beauty of her songs, her voice, and Peter’s arrangements, but specially by the way they approached music. To me, it felt like they just wanted to close their eyes and jump into a wild emptiness that they somehow had the need to fill out with their music. Very inspiring, spiritual music. I felt instantly connected to their world, connected to people I did not know at all. I thank the stars for putting me out there that night and later give me the opportunity to getting to know both Laura and Peter and realize that they go as far with their souls as they do with their music.
Later on, around that time, I saw Peter playing with some of his other bands or projects he was collaborating with, all of them really interesting; Horse Feathers, Loch Lomond, Norfolk & Western, etc. Every time I have seen him play I have always reacted the same way, like attracted to something you do not quite understand rationally but that makes perfect sense to you at an emotional level. I think we talked once or twice after some shows. I remember I thought that apart from being an incredibly talented musician, he was a really nice guy, kind of quiet and somehow mysterious. I liked him. Coincidences of life, I needed a room for a few months in the fall of 2007 and through some common friends I ended up staying at Heather Broderick’s (Peter’s sister) house in SW Portland. In September, Peter was leaving for Europe. He was about to embark on his first tour with Efterklang. He stayed at the house for the night before his departure as he had to take a very early morning flight and Heather was giving him a ride to the airport. Instead of trying to get some sleep, Peter stayed up all night, recording music with Heather. I remember feeling mesmerized by the sounds of For Misty, a song that ended up being part of From the Ground, Heather’s debut album (one of my favorite records). That night, he also gave me some of his recordings; some piano music and a copy of his score for the film On Paper Wings, which I loved. Now, with some perspective, I believe that by being exposed to their music something changed in me. Something opened.
I spent 2008 mostly in Spain. Change of seas. Homes collide. In March, my partner got sick unexpectedly. Really unexpected, really sick. Thirty-two days of hospital, with all their long hours, minutes and seconds. Time became something different. Life felt, and still does, like a miracle. We all tried hope. She started recovering. In a way, music became the most natural response to almost everything that was going on in my life. She was released from the hospital. I got asked to writing the score for a film called From River to Sea, directed by Susan Fink and produced by herself and my friend Emerson Machtus; I felt really lucky. Again, something opened. Anything but writing and recording music seemed odd and uncomfortable and closed to me for a while, so that was pretty much all I did.
Writing music for the film got me started with the process of writing songs for a new record, La Siembra, la Espera y la Cosecha, which I recorded mainly in Portland during my visits to Oregon in the fall and winter of 08/09. During that time I wrote some new songs that came to me feeling different. Some of them instrumental, others with words; they somehow felt that they belonged to a new place. Pieces of sounds and words waiting for the right time. I thought that, ideally, I would love to work on those songs with Peter. Without much thought I sent an e-mail to him with some ideas and some music. His response was really nice and positive and I got really, really excited. This was followed by a number of letters back and forth trying to find some time for us to work on this together, either in Oregon or Spain. Peter’s schedule, however, kept getting busier and there was really no time for him to do it anytime soon.
Around January 09 I did some recordings, mainly guitar and vocals, in an old stone-walled country house that my mom has, close to Castellón, Spain, about 40 km inland from the Mediterranean coast. I spent the first four years of my life and most of my childhood summers in that house, and I have always been very attached to that place and its surrounding environment. In early March 09, recently moved back to Portland, I went to see Efterklang at the Doug Fir; Peter opened with a beautiful solo set. I talked to him after the show, and both agreed that, giving how hard it was looking to find time to get together to work on this project we were going to start exchanging music via the internet. This method worked great for a while. On our correspondence we discussed the idea of connecting songs and creating two pieces of music which would leave more room for Peter to improvise and recreate, more open. While touring in Ireland, early in May, Peter sent me his first recordings, some gorgeous violin parts I really loved. The music, though, came with some news: part of his portable recording equipment broke and he had no way to fix it on the go. This forced us to take a decision that was, ultimately, positive: we were going to want until Peter would come to Oregon in the summer and we would then work on finishing the album. Meanwhile, I did some tracking with Heather when she was in Portland. She was of great help, and played beautiful cello, flute and sang. Another magical, talented musician. Also, during the mixes of La Siembra, la Espera y la Cosecha with Adam Selzer at Type Foundry I managed to find some time to record some pianos, vibes and pump organ for Réplica. My dear good friends Laurel Simmons and Nicholas Marshall came one night to our house and did beautiful harmonies for one song (singing with them is always such a joy).
Peter arrived in Portland early in July. After spending some time with his family, he stayed for a week with us at hour place in SE Portland. I was a wonderful time. Summer nights with lots of cooking, nice weather and conversations. I also enjoyed silence with Peter, we talked a lot about silence in music and silence as part of communication; how some people have the ability to make silence feel good. Every day I couldn’t wait to start recording. I think we rapidly reached that point where lots of things can go unsaid, just done. It was very inspiring, very natural. And it was rally fun; we went to a pre-elementary school classroom (thanks Laurel Simmons!) to do some piano recordings, ate gigantic ice creams, recorded with all the windows opened (at least Peter did!) and I still can hear the line 15 bus up and down Belmont St on the recordings. We really enjoyed working over Chad’s soundscapes and textures (that we called fog), which turned to be very influential in the way we ended up organizing some parts of these compositions. We also went for a couple of days to finish the album to a beautiful barn near Carlton, OR, where Peter’s dad lives. There, we placed a field recorder on a tire swing that was hanging from a big old oak tree, we recorded ourselves running in circles around that tree, recorded the wind and the night bullfrogs, used bushes and stepping onto rocks as percussion, and saw beautiful night skies. Peter found some old instruments (accordion, viola, etc.) he used to play and we used them all. It was a great pleasure to meet Peter and Heather’s dad, a truly genuine and honest person. I guess I understood more of their personalities, nature, and values after spending a little time with their dad. Peter cooked his first tortilla de patatas (he was kind of obsessed with it). Todd was barking, and yet, he sounded friendly. Simple things that made that week very special.
After that weekend at the barn we were done tracking. We finished recording on Sunday and were at John Askew’s Scenic Burrows Studios in NE Portland, ready for mixing, on the next day, Monday July 20. Working with John was really easy, he understood the nature of the project from the very first second and both Peter and I just relaxed and let John work. John has been releasing music I have loved for a long time (under the name Tracker) and working with him was another exciting part of this project. Ice coffee for long sessions as we were mixing each entire piece of music at once. We mixed the album in three intense days, followed by a couple of days later in August to do some fine tuning. During those days the wonderful Nils Frahm came to Portland to visit Peter and Heather. I was excited to meet him after hearing so much about the big heart and talent of this fine man. Nils mastered this record to tape in his studio in Berlin, which was an exciting and special way to close our project and open it to you.
I hope you will enjoy this music as much as we did writing and recording it. Thanks for reading and for listening to the music.
July 7, 2010
Notes written for the release by Peter Broderick
The barn is a special place. My own secret place to create sounds and embrace the surrounding silence. A place I would rarely think to share. But when you spend time with Raúl it’s hard to want to keep anything to yourself. He brought his music to me with his mind and heart wide open. It is rare to be certain about anything with music, but when I think back and listen to our collaboration, there is one thing I am sure is present. Warmth.
The piano at the school house. A warm fog of sound from Chad. Hot summer nights on the balcony. T ortilla de patatas. One week in Portland after six months of correspondence from all around the world. One week to put all the pieces together. Close is the word. Close to deadlines, close to each other as we bring the project to close. Our room is full of open doors, and we aim to softly close just one of them.
RAUELSSON, GRUP d’AUTOAJUDA & PETER BRODERICK play RÉPLICA LIVE
The last couple of years have been busy for Raúl Pastor Medall (aka Rauelsson). While things like relocating to Spain, touring in Japan, welcoming his first son, Oliver, to the world, working on an instrumental piano-influenced album (to be released later this spring), were happening, Raúl found the time to get together with the improvisation ensemble Grup d’Autoajuda and gave form to a live version of Réplica, in its integrity. They performed this live version of the record on several occasions in Spain, including the Tanned Tin Festival. One of those shows was especially remarkable as they were honored with the presence on stage of Peter Broderick, the other mind behind the creation of Réplica. Luckily, the performance was nicely captured and recorded, and Raúl has decided to offer it as a welcome-2013 gift to you all. Of course, if you feel grateful and want to give back, you can support.
Réplica Live was performed at Teatre Municipal de Benicàssim, Spain on June 10th 2011, and has been mastered by Nils Frahm at Durton Studio, Berlin, on December 2012.
Peter Broderick: Musical Saw, Percussion, Violin, Voice
Luís M. Chafer: Piano; Voice
Toni Falomir: Bass, Guitar, FXs, Voice
Raül Fuentes: Electronics
Hèctor Goterris: Violin
Vicente Ordóñez: Guitar, Voice
Raúl Pastor Medall: Guitar, Voice
Victor Pesudo: Drums, Percussion
Anna Pitarch: Cello