Physical CDs available at bencosgrove.com
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On "Salt," his first studio recording in three years, landscape-influenced composer/performer Ben Cosgrove pulls back from the lush orchestrations of 2014's "Field Studies" in favor of a stark, quiet, and graceful sound that relies heavily on his idiosyncratic piano work to explore landscapes of inconstancy and ambiguity.
“This is music about places where the land tends to come and go: marshes, rivers, tidal estuaries, salt flats, floodplains, frozen lakes, places where earthquakes happen,” Cosgrove explains. “I wrote this music during a time that was characterized by a lot of pain and confusion: everything often seemed to be all tumult and motion, and it wasn’t always obvious to me which way was up or down.”
Cosgrove found himself composing music about places where that sense of unrest and instability was reflected in the landscape: “I took several simple little interrelated, shifting melodies and knocked them around a bit to try and explore this idea. Sometimes, it can feel as though everything is collapsing, nothing is still, and you can’t seem to plant your feet, but it can be useful in those moments to try and take comfort in that ambiguity, or just to remember that the ground moves, too.”
“Champlain,” the new record’s opening cut, considers the fragility of the surface of a vast, frozen lake. “The places this record goes after the first song are sort of calamitous and fraught,” says Cosgrove, “but this opening is more to establish an initial feeling of a growing awareness that you’re standing on shaky, impermanent ground, however solid it may seem or how beautiful it may be.”
- Junction Magazine, April 2, 2017
- Sound of Boston, May 15, 2017
- Red Line Roots, May 1, 2017
released May 16, 2017
All music written, performed, and recorded by Ben Cosgrove.
Tracks 1 and 7 feature vocals by Sophie Nelson and field recordings by Shan Burson.
Written and recorded in Massachusetts, Maine, New Hampshire, New York, and Vermont in 2016-17.
This record was hard to make, and I had a lot of direct and indirect help. Many thanks to Judy Schmidt, Max García Conover, Charlie Ryland, Bill Steffancin, Sophie Nelson, Jamie Kallestad, Zach Arnold & Molly Wasser, Steph Jenkins, the Jenkins family, the Moore family, Claire Nivola & Gus Kiley, Ben Shattuck, the Shattuck family, Julia Runcie, the Runcie family, the Arnold family, Stephen DeYoung & Alex Garcia-Mata, Katie Walter, Dan Lombardi & Whit Mickelsen, the Shannon-Lier family, Garrett Dash Nelson & Lani Skipper, Ursula DeYoung, Brandon Berger & Kelly Livingston, the Kallestad & Breneman families, the Vermont Studio Center, the Sitka Center for Art & Ecology, White Mountain National Forest, the Schmidt Ocean Institute, the Arts Alliance of Northern New Hampshire, the National Park Service, Shan Burson & Linda Franklin, Anna Glynn & Peter Dalmazzo, Skye Livingston, the Social Animals, Wild Shore New Music, Nick Neely & Sarah Bird, Chris Shaw & Sue Kavanagh, Bill McKibben, Xian Chiang-Waren, Colin DeYoung & Valentine Cadieux, the Gale family, Kirsten Vega Tatterfield, James Napoli, Brian Fulks, and -- especially -- to my parents, grandparents, sister, aunts, uncles, stepsiblings, and cousins, and to everyone else whose support has helped me along so far.
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