MP3 Ghost to Falco - torn or broken, shadowed or dark, cast off all doubts and ride the flames to freedom
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5 MP3 Songs
ROCK: Psychedelic, ELECTRONIC: Soundscapes
Here's some of the things people have written about Ghost to Falco in newspapers or magazines:
...Started in 2001 as a solo project by Eric Crespo (guitarist for the Portland art rock band Alarmist), Ghost to Falco, now backed by a drummer and bass player, performs mournful songs that are unsettlingly beautiful, like a peaceful morning before a funeral. Crespo sings gently and deliberately over looped synth and guitar strums-lulling listeners to sleep with ominous raindrops on the brink of turning into a raging thunderstorm...
--San Francisco Bay Guardian
(April 6-12, 2005)
Album review of "torn or broken, shadowed or dark, cast off all doubts and ride the flames to freedom.":
Ghost to Falco...creates eccentric and eerily beautiful songs that bind themselves in warm dredging melancholy and rise into explosions of ambient noisy chaos, before eventually feather-falling back into calamity. This is an impressive album, thick with conviction, tragic and soothing.
--Punk Planet (March & April 2005)
What's the sound of one hand clapping? Probably something really close to that of a guy jacking off. Likewise, one-man bands tend to embody the more masturbatory traits to which musicians are prone: self-absorption, self-indulgence, self-congratulation and lots of other annoying qualities prefixed by the word "self." Eric Crespo (below), though, keeps his ego in check and his hands out of his pants with his solo project, Ghost to Falco. Started in 2001 as an auxiliary to his day gig, Portland's art-punk outfit Alarmist [note: Alarmist actually started more than a year after Ghost to Falco], Ghost to Falco is Crespo's repository for all the loops, drones, swells and whispers that rattle around inside a lonely brain. His 2004 debut, Torn or Broken, Shadowed or Dark, Cast Off All Doubts and Ride the Flames to Freedom, is a five-song plunge into the icy waters of non-being; echoing with empty space and soft voices, it pulls at the spirit like a death wish. Guitars and synthesizers are twisted around and fed back into each other until they spiral into vast, gaseous shapes, a sound as ethereal yet densely epic as that of Windsor for the Derby, VVRSSNN or even Meddle-era Pink Floyd. If you can wrap your head around a performance of almost Zen-like grace and mystery, cue Ghost to Falco.
--The Denver Westword
Straightforward without being sappy, emotional without being overblown, Ghost to Falco is a rare type of fellow. He uses brisk lines of electric guitar, samplers, keyboards, and a bath of mood lighting to decorate his plaintive songs of loss and sadness. The result is a strangely comforting (but not overly comfortable), warm performance, mired in balance and layered effects. In a very sweet and unexpected way, Ghost to Falco bridges the gap between solo emotionalism and accessible experiment.
Ghost to Falco began as the solo musical experiment of twenty year old Eric Crespo at the end of the year of 2001. Crespo had played in various bands for six years and began making use of all of his musical equipment at once. Ghost to Falco began with no real hometown. The first few shows were part of a moving trip between North Carolina and Portland, Oregon (where Crespo currently lives). In Portland Crespo went through something of an artistic puberty and really took Ghost to Falco into the thick of the convoluted and over-saturated world of the underground musical landscape of the early 21st century.
So Ghost to Falco did tours and played shows and made an album and a split seven inch that were worked really hard upon and put out by record labels and somewhere in there Crespo formed another band called Alarmist that he played guitar in, and Alarmist put out a good album and toured. In February 2005 Ghost to Falco played its first show with a drummer and bass player who had learned some new Ghost to Falco songs. And it was grand. And now that's the way Ghost to Falco usually is when it plays live except sometimes there's way more people than that playing on recordings and maybe sometimes live too. But we don't want to put any limits on this. Anything can happen! Ghost to Falco might play alone again one day too like it used to be with the loops and the analog synth and the hushed vocals and the pillows of noise. It might be just Crespo with a classical guitar and singing too (all over the world even!). And besides all that Ghost to Falco is working on recording a new album. It should be out by spring of 2006 and should be called, "Like This Forever."
I dream very vividly and images from past dreams I've had will often pop up in my head while I'm writing songs. I wonder if this happens to other people who write songs? I've discovered some THING recently and I don't know how to put it into words. Sometimes I'll stay in my basement and feel like I am going insane, but not insane in a bad way really. Except for sometimes maybe it's bad that I'll have a bit of spite for anyone or anything that takes my attention away from me driving myself (possibly) insane in the basement. People have told me they feel a strong current of loneliness running through Ghost to Falco music, but if it's there I wouldn't view it as a tragic loneliness. This thing, this music is always there, and sometimes it just takes over and I don't try to control it.
Some dead old scientist said, "Who needs God when you've got science." Don't the arts and sciences, whether those involved are conscious of it or not, both strive to achieve the same result? That being to make sense of the basic human experience (though a case could be argued that occassionally art is exclusively a form of communication, and whether that form of communication is in itself another way of making sense of the basic human experience is another topic that we won't go into further here). Oh, but the brain is limited in its capacity, isn't it? What will the brain do when it finds out exactly how every part of itself works? When it knows its own limitations and capabilities?"
It is what it is my friend. Nothing and no one can ever know the true, extended consequences of anything that occurs. The cops and you and all your buddies and everyone else can yell, "ME, ME, ME!" in the politics game forever. Your way is better than their way and this way is better than that way and this will help us live together better and understand and feed and clothe and meanwhile the world is growing exponentially. We know where it's leading, but no one can stop it. A blip on the map of the old evolutionary cycle of the earth. Anything can only be the sum of the parts of what came before.
Can anyone really take a step back away from the strings in their field of vision and see where those strings are coming from? That those strings extend down the street and around the world and into the atmosphere and those strings themselves get controlled by nothing and everything at once. And then a bigger nothing and everything at once controls those strings and so on and so forth forever. There's beauty and comfort in knowing that the earth will eventually take it all back. Marvel at the FREEDOM of it all for a second.
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