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Boskenna

by Lomp

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1.
House 03:33
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2.
Map 03:40
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3.
Curve 03:08
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4.
Climbing Habit 02:59
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5.
Shoes 02:56
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6.
Fiction 03:22
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7.
Deep South Perennial 05:39
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8.
Past Future 03:14
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9.
Split 03:02
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10.
Bed 03:49
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11.
Distance 03:12
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12.
Cake 03:20
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13.
Boom Town 02:20
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14.
Field 03:30
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about

All 14 tracks written, performed and recorded by Simon Aeschbacher between January and November 2015 at home in London NW2.
Programming and mastering by Simon Aeschbacher.
Cover artwork by GABEL & LÖFFEL. Pictograph drawing by Eduardo De Vicente. Illustrations by Inés Cunill-Prado

"Boskenna is my first solo album. Most of the ideas originally came out of the sessions for the first Boat Nation album for which I played a lot of piano parts. I am not a pianist. I played the piano as a child and teenager because there was a piano in the house. Other members of my family excelled at it but I somehow only played it recreationally.

At the beginning of 2015 I gave myself a whole year to develop the handful of ideas into short instrumental pieces. A first batch of recordings I did without a click track and I ran into all sorts of editing problems. Following that I used a computer to work on percussive accompaniments and in some cases this let to slightly more elaborate arrangements. I wanted to limit myself to a piano and a drum machine. But I don’t have a drum machine anymore. Instead I have several of them stored on my computer, I can mix and match the way I want. Therefore it’s overall correct to call it “music for piano and computer drums.

The only outside intervention occurred when I briefly toyed with the idea of singing on a couple of tracks. My wife’s reaction was swift and categorical. As a result the album is 100% instrumental [14 tracks]. Boskenna is a beauty spot in Cornwall, England. At the same time it is entirely fictional. “We are tempted to live in a fantasy world but the only satisfactions available are the satisfactions of reality [Adam Phillips]”.

Kurt Früh, a Swiss movie director, said in an interview he gave in 1967 [rebroadcast in 2015 on Swiss Radio in honour of his 100th birthday] that he kept a piano in his office. Whenever he got stuck working on a screenplay he would turn to the piano, and, as he put it, torture it. He came from a musical family but never properly learnt to play the piano. We’ve still got his movies and they are part of Switzerland’s film history. What we don’t have is the music he improvised on the piano. It is not impossible - as much as I am fond of some of Früh’s movies as documents of an often petty and narrow-minded society – that his true artistic impulse found expression not in his movies or radio dramas but in his piano playing. Just a thought."

Simon Aeschbacher, November 2015

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released February 5, 2016

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Lomp London, UK

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