Pacific Novelty

by Peter Escott

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about

The short version, for there is always a short version: this album is piano and nuthin but. Kind of an imaginary soundtrack. Headphones will probably help. You know how music works. Track 1 should tell you if you're gonna like the main album, track 19 or 25 maybe is a good indicator of the tone of the bonus tracks.

Because you've kept readin: I was in a nice place (Edinburgh) but in a weird place (age 19-20). Been playing piano since I was a little tucker and writing piano music since about 17. I still don't quite get where any of what I was writing came from. Didn't listen to much piano music. Never liked anything classical. I was mostly into the Fall and Stereolab at this point in my life... y'know, rhythms and catchy tunes and such. You won't find that here. Guess it was just that dark and difficult piano music was the only thing I knew how to make. Nowadays I hear a song and I'm all "I want to make a song like that". Not that I usually can. But back then I didn't even try. I just smashed and stabbed at the keys.

I tell a lie - there was Barry Adamson's "Moss Side Story". Changed my life. Gave me the chills. The first imaginary soundtrack I ever heard. So that's what I went for with this. And just as Barry set his music to pictures in his head of crime and desolation on the streets and estates of Moss SIde where he grew up, I sat at the piano in my Edinburgh flat and imagined Tasmania burning and bloody and sinking into the sea. As you do when you're homesick but you still want to feel like you "left for a reason". There was a very loose story attached to it, told in the track titles. I'll explain a little more on the individual track descriptions on this page.

Recorded it all in one night on a beautiful baby grand at Edinburgh University, with the help of a student on a recording engineer course named Lucy Hague. By "help" I mean literally everything except for the fingers on the keys and the foot on the sustain pedal. Still humbled by her kindness all these years later.

I called it "Six Months Transportation", it goes from track 1 (Crestfallen) to track 14 (Glenorchy Mafia). Made a small number of CD-Rs and sold them at the Forest Cafe, where I played all my shows. When I came back to Hobart in 2006, I attached another thing I recorded at home called the "4 seconds EP" (tracks 15 to 20) and some other home recordings, made another small run of CD-Rs and called it "Pacific Novelty". The extra stuff isn't quite so frightening, a lot more colour-ful and beauty-ful.

(if you look at the .jpg of the back cover enclosed with the album, you'll see a track called "3:46am" listed in the bonus home recordings - turns out the "wav" has the wrong number of "Hz" to be uploaded to Bandcamp - I'm sure there's a way to fix it, but honestly, the title should indicate to you just how unremarkable and inessential it is)

Anyway. This is what I spent a year and a half overseas doing, and will likely never do again. I still don't know who it's for. Hope you get something out of it.

credits

released August 1, 2006

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about

Peter Escott Hobart, Australia

Peter Escott, from Hobart, Tasmania (which is near Australia). Piano, except when there's synths and beats; singing, except when there's not. A brain being kind to a body, a body being kind to a brain.

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