In an era of increasing global connectivity, the musical landscape is ephemeral, enriched by the fusion of diverse cultural elements. Few artists embody this dynamic synthesis as vividly as Crespín, a musician whose works transcend traditional boundaries to create an intricate tapestry of sound.
Drawing from his profound experiences and explorations across the globe, Crespín’s music reflects a deep-seated belief in syncretism – the blending of different cultural, spiritual, and artistic influences into a cohesive whole.
Crespín’s musical essence is not just about crossing geographical borders but about transcending the conventional confines of genre and tradition. He views the world as a “mixed world,” where information from all corners converges to create something entirely new. “Indian condiments are being used in typical Argentine foods,” he explains, observing how such culinary cross-pollination mirrors his own artistic process. This perspective is not merely theoretical but a lived reality, fueling his creativity.
Central to Crespín’s artistic philosophy is the concept of syncretism. His travels have granted him a kaleidoscopic view of art, which he likens to “expanding my color palette when painting music.” He sees humanity itself as inherently syncretic, a blend of various cultural and historical influences. This belief forms the bedrock of his artistic vision, propelling him to imagine musical forms that are yet to be conceived. “From this concept, infinite musical forms will happen, arts that are unimaginable in the future, arts that we cannot see in the present,” he notes.
One example of Crespín’s ability to weave disparate threads into a coherent narrative is his song ‘Rita’, a tribute to his maternal grandmother. Though he never met her in person, he describes having “quantum communications” with her, through which he gained profound insights into her life and legacy. This connection transcends physical reality, suggesting an ethereal presence that influences his journey of self-knowledge. “She is present, she travels in my blood, she travels in the ether,” he reflects, illustrating how personal history and metaphysical experiences shape his music.
Crespín’s approach to composition is equally eclectic and innovative. He describes how he integrates seemingly unrelated elements into his work. For instance, he might blend Latin American folk rhythms with German compositional techniques and poetry that speaks of the Argentine landscape. This fusion goes further: “I can take the concept of material reminiscent of Beethoven and apply it in a song with a Festejo peruano air,” he explains, highlighting the fluidity with which he navigates different musical traditions.
Despite the diverse influences and experimental techniques, Crespín’s music retains a distinct identity grounded in his unique approach to songwriting and poetry. “What unifies my compositions is the song genre,” he states, emphasising that his work is fundamentally about crafting songs with a clear lyrical voice. This lyrical identity is the matrix of his compositions, shaped by his ear and intuition.
His method of listening is influenced by the contributions of 20th-century experimental music, which redefined the parameters of sound and arrangement. “My way of listening has the particularity of understanding sound from contributions of experimental music,” he notes. His creative process is informed by a broad spectrum of auditory experiences.
At the heart of Crespín’s current inspiration lies a profound connection to natural spaces and the themes of movement, uncertainty, and being far from home. These elements serve as the primary drivers of his composition. “In this present moment my main inspiration is taken from natural spaces, wide spaces, movement, uncertainty, instability,” he shares, indicating how his surroundings and personal circumstances influence his artistic output.
Crespín’s understanding of contemporary music is rooted in its experimental currents, which treat sound as an entity with its own intrinsic potential. He believes that sound does not need to conform to traditional tonal structures to be considered musical. “Sound is already musical potential before it takes place in a Tonomodal music,” he explains, highlighting his commitment to exploring the full spectrum of auditory possibilities. This philosophy is evident in his performance approach, where he views himself as a servant to the sound, invoking and channeling its energy through his voice. “Every time I sing I invoke, I am a servant, I put myself at the service of the sound,” he declares, underscoring the spiritual dimension of his music-making.
His experimental approach is found in his song ‘7 Colores’, inspired by a nocturnal symphony of cicadas, crickets, and frogs. The dense sound texture he encountered in the forest led him to replicate this auditory experience using vocal layers. Drawing from Steve Reich’s techniques, he achieved a sound saturation reminiscent of the natural cacophony. “I sought to imitate that sonority with the voice,” he explains, demonstrating his ability to translate environmental sounds into musical compositions.
In a world increasingly interconnected yet often fragmented, Crespín’s art offers a harmonious blend that celebrates our shared humanity while honouring the uniqueness of individual experiences. If you want to be introduced to the beauty of syncretic soundscapes and explore the depths of your own cultural and spiritual identity, then Crespín’s music is the way forward.
Cover photo by Victoria Callerio
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