Welcome to Shit Ghost's Press Kit
This page will provide you with everything you should know about the Seattle based psychedelic phenomenon. Direct any further question to firstname.lastname@example.org
Watch the Video for the Song "The Meeting of James Franco" Below. This song perfectly encapsulates shit ghosts visual and Auditory Design.
Shit Ghost, a once mortal man, has been sent back to earth by the creators to learn something that he failed to learn during his time alive. He must discover what that is before he can leave this Earth once and for all. He seeks truth and answers through his music, and encourages others down the path of introspection and self examination. He is not the only one. Anybody you see in the mask and glasses is somebody who believes in introspection, self growth, and has a thirst to explore the unknown.
His story is constantly being developed in the Shit Ghost Zine, a self published magazine that features psychedelic art from artists curated by Shit Ghost. Each record that is released is paired with a zine, in order to fully engage people in the experience. It is available both in an animated digital version, and physcial copy.
The music is heavily influenced by the creators finger style guitar background. Shit Ghost refers to themselves as underwater psychedelic band, which after hearing the music fits perfectly. The sound is heavy on reverb, wah-wah filters, and delay, all which make it seem like you are floating in the middle of the ocean as unknown creatures circle your ears. All the music is created with an acoustic guitar, and a loop pedal. The songs are written like stories. Each song is meant to be a musical journey, that takes the listener into another dimension. The vocal effects that Shit Ghost uses are unlike any other. The osculating cry's are created with vibrato and reverb. It is truly something new and unique, a new color for the world to see.
Below are the tracks from the Debut Record "1: The Creation." The songs "The Descent" and "The Meeting of James Franco" are fan favorites.
Shit Ghost has a highly visually focused performance. Each band member is in costume, which consists of novelty hypno-glasses, white lycra masks, and white turtle necks. The purpose of this is to remain pseudo anonymous, as Shit Ghost is to be thought of as his own entity. The projected visuals are handmade, and consist of two large circles that parallel the glasses worn by the performers. The images consist mainly of outer space, and the ocean. The intention being to draw attention to the most unexplored parts of the physical world, and relate the the most unexplored aspects of the Human Mind. The only two performers on stage are the guitarist and the drummer, for all the music is made with the loop pedal. The performance is very introspective and emotional, as it tells the story of Shit Ghost.
What is to Come
Shit Ghost is in the Process of writing and recording the second album. This album will be produced with the help from Seattle Producer Erik Blood. Shit Ghost will also be completing the Zine, The Full Length Video for the Debut Album "1:The Creation", and will be planning a NW tour for the fall of 2017.
Shit Ghost is the brain child of artist Samuel Orson. Samuel, a multi-instrumentalist who gained his following through his percussive finger style guitar music, created Shit Ghost with the intention of bringing the most whimsical ideas of the human mind to life. It was debuted in May of 2016 at the Rendezvous in Seattle. Samuel was booked to play his finger style set, but instead unleashed a tidal wave of psychedelic mass that came to be known as Shit Ghost. Currently the music group consists of Samuel Orson, and drummer Bryan Coats, and Samuel's wife Rebbecca McDonald who is the visual director of the group. The group also consists of a plethora of visual artists, poets, activists, and dancers all with a focus psychedelia.
Along with Chris Lott from the band Wall of Ears, Shit Ghost formed BRAINTHAW! a monthly psychedelic gathering of visual and auditory psychedelic artists.
"Shit Ghost writes a bizarre kind of post-rock dubbed “underwater psychedelic” that, refreshingly, takes itself far, far less seriously than its apocalypse-obsessed contemporaries do."