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Peter Adams Music
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Peter Adams

. . . playful but foreboding, majestic but quirky, and always infectious.
- NPR, All Songs Considered

Classically trained and unconfined by genre, Peter is a composer, producer, violinist, guitarist, and singer. He released his debut album, The Spiral Eyes, in 2005 to critical acclaim. The album, described by Magnet as “classically influenced and yet tethered to nothing but his own fevered imagination,” was written, performed, and produced entirely by Peter. Since then, Peter has released several more albums - I Woke With Planets In My Face (2008), Songs For Modern Dance (2010) - as well as producing works for film, theater, television, and dance. His most recent release is Fifteen Fires in the Filament Eve.

Check out videos of some of Peter’s works, listen to full-streaming albums, read some press, interact with the collection of individual tracks, and get the latest news.

Fifteen Fires in the Filament Eve

  • 2013
  • 62 minutes
Buy it on bandcamp
Adams’ music suggests something of mythic proportions is unfolding.
- David Lyman, Cincinnati Enquirer

A collection of both new and old, featuring my most recent recordings as well as my oldest, and everything in between.

More about Fifteen Fires in the Filament Eve »
  1. Where the Incline Alights the Hill
    14:01
  2. Stranglevine
    02:21
  3. Love in the Afternoon
    04:39
  4. Flashlights
    05:51
  5. We Collide
    02:17
  6. Theme from “Sunday’s Mother”
    01:35
  7. Theme from “When the Dogs Cried Out”
    01:25
  8. Untitled (Tourette’s)
    01:54
  9. Great Wave
    03:30
  10. Vivian Girls Overture
    03:10
  11. Feet to the Fire
    02:33
  12. Listen Harmony
    03:22
  13. Stand in the Sun
    03:24
  14. If Only Child
    02:52
  15. In the Evening
    04:59

Songs For Modern Dance

  • 2010
  • 29 minutes
Buy it on bandcamp
From its first notes, it invests the dance with a fable-like quality, a sense that something momentous – maybe even magical – is about to unfold.
- David Lyman, Cincinnati Enquirer

A collection of two EPs, ‘Dances For Heather’ and ‘I Am A Strange Loop,’ comprising music I created for the Cincinnati Ballet in 2009 and 2010 for their New Works program.

More about Songs For Modern Dance »
  1. Bending Sky
    04:05
  2. Cypress Knees
    04:05
  3. Cumulus Spires
    08:05
  4. The Sullen Saint of Eden
    05:54
  5. The Tangled Canopy
    04:10

I Woke With Planets In My Face

  • 2008
  • 50 minutes
Buy it on bandcamp
With all the drama of an ethereal movie soundtrack, Adams' songs brilliantly merge his classical training (he started playing the violin at age three) and the inevitable teen-punk backlash. On his latest, I Woke With Planets in My Face, the hyperliterate Adams composes folksy pop tunes solo and translates them into full-band symphonies.
- Kari Wethington, Spin

Wandering through a floating jungle with a string band and stumbling onto a ruined city of waterlogged bass drums, mossy chord organs, and a tribe of melodicas dancing to a phonograph of Bela Bartok and Tom Waits playing Sgt. Pepper with kazoos.

More about I Woke With Planets In My Face »
  1. In the Great Green Room
    02:18
  2. The Observatory
    04:12
  3. Conversation With the Moon
    05:40
  4. Into the Mist
    03:59
  5. Sprinkler Song For Jessica
    02:15
  6. Ziggurat
    03:56
  7. I Was Looking At the Ceiling, and Then I Saw the Sky
    03:14
  8. Ghost in the Fen
    04:06
  9. Antarctica
    07:00
  10. Annabel Lee
    03:03
  11. Eyelids
    03:36
  12. The Seventh Seal
    06:59

The Spiral Eyes

  • 2005
  • 45 minutes
Buy it on bandcamp
. . . like viewing a classic-rock mosaic through kaleidoscope eyes. The album's dozen tracks include moments of Radiohead's exquisitely crafted chamber angst, Jeff Magnum's chemically-altered, wide-eyed wonder, Jeff Buckley's angelic introspection and the Flaming Lips' finest flights of orchestral fancy.
- Corey duBrowa, Magnet

Eleven tracks of melodious, neo-psychadelic pop with generous servings of stringed instruments.

More about The Spiral Eyes »
  1. Cementalisque
    04:41
  2. I Evolve
    04:06
  3. When the Morning Dies
    04:12
  4. The Disappeared
    04:37
  5. More Than You Know
    03:35
  6. The Invention of Nuclear Power
    02:45
  7. Shoot the Moon
    05:24
  8. Sleepwalker
    02:35
  9. Spiraling
    05:12
  10. Mister Grieves
    04:38
  11. Elevators
    03:26

Announcing “Fifteen Fires in the Filament Eve”

Fifteen Fires in the Filament Eve

I’m excited to announce the release of my first new album in three years, Fifteen Fires in the Filament EveIt features over 60 minutes of music from the past ten years of my career, including my most recent piece for the Cincinnati Ballet, the 14-minute Where the Incline Alights the Hill. All of the tracks on Fifteen Fires in the Filament Eve are either brand new or have never been officially released, and they include some of my very earliest recordings.

You can purchase Fifteen Fires as either a download, or as a limited-edition CD for just a few dollars more.

Each CD will come in a durable eco-friendly cardboard case with full-color artwork, and will be hand-numbered from a supply of 100. Once these are gone, they’re gone! When you purchase the CD, you also get instant access to the music download.

Listen to samples and get your copy at Bandcamp.

Outer CaseInside Case

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Opus 5.5 Added to Videos

Last fall I got to create another piece for the Cincinnati Ballet with choreographer Heather Britt. I was brought on to the project a bit later than in past years, and subsequently had less time to work on the piece. But strangely enough this proved to be an advantage, as I didn’t have enough time to get stressed or second guess myself about little details. I kind of just plowed through it, and only looked back to change things in a few places.

You can watch the final product here. I think it’s the strongest of our three big collaborations. The visual language Heather created on such a short timeframe is staggering – I’ve watched it close to a dozen times, and each new viewing brings to light a deeper level that I missed previously.

I tried to challenge myself to not fall back into the comfort zones I’m used to – namely, lots of time taken up by vocal verses and choruses. For example, the long rhythmic section in the middle is something I would have never written on my own, both because percussion is not my specialty, and having long sections of music without much melodic movement makes me nervous. Looking back and hearing everything in context, I realize I could have extended it even more. But I’m still learning.

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