“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. 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.”

Martina Bertoni
Falk