To fill the waiting, I decided to released a song, that won't be included in my next work.
This track is a celebration of all the beautiful things that happen in life, and marks new roads in this music I am making.
‘All the ghosts are gone’ is the first full length album from Berlin based cellist and composer Martina Bertoni, and follows the release of her two EPs, respectively in 2018 and 2019.
It’s a journal of a process of recovery, that was formulated during a time of physical and mental exhaustion. The compositions are recollections of emotional landscapes, born from a moment of fracture and conflict with a past identity.
Martina describes the process: ‘During a period in which the energies available for all the minute things of everyday life were very minimal composing this album has been the very first therapy I could take on. I had to look for who I was, in a time in which I had no strength. Waking up everyday and composing was a way for me to regain my identity and finding back my balance’.
‘I started to explore what was unknown to me, as I wanted my cello to sound completely alien. I had to find ways to get the sounds I liked: grainy, opaque, dusty…I did not want melodies nor did I want harmonies. I wanted to dig deep into the sonic textures that my cello could give me. I wanted layers and layers and layers of sound. To learn how to be hypnotised. I wanted to pretend to be an electronic producer. Hence I started doing the opposite to a reasonable treatment for obtaining a ‘healthy’ and ‘beautiful’ cello sound’. Filtering, layering, heavy processing, beat programming are the tools used to describe the eight stories that constitute ‘All the ghosts are gone’. The cello is stretched, drowned, multiplied and dissected. Therefore re-composed in a different state.’ I create beats and use distortion and modulation as singing voices, de-fragmenting the idea of theme, making my music sound like a cloud of dust or like drops of liquid falling into puddles’.
The main drive during the seven months of composition of the record was the will of finding a more concise way of composing and depicting the sonic world that Bertoni lives in. The mistreatment that she subjected her cello to, is a pathway to what she describes as a ‘liberation’. This record has been born from the necessity of stepping out of a pretty uncomfortable comfort zone. One of being a cellist and willing to create music that didn’t belong to her instrument.
The eight tracks of ‘All the ghosts are gone’ are a chronicle of a disorganized reconstruction. They evoke desegregated landscapes, in which the voice of the cello is a hazy narrator in a hypnagogic state. It is a record full of sounds of the place where it was born, and tells a story sometimes dramatic, sometimes suspended, of a pursuit of meaning.
All the ghosts are gone is due to be released on the 8 January 2020 by the Icelandic label FALK (https://falkworld.bandcamp.com/)