few months ago I had all but the faintest awareness of the group of people who crafted music under the guise Charles Atlas. I passed by the name on occasion, but took as much notice of it as one takes of the contents in the flowerbed or hemlock tree they pass by every evening. But every little while something raps upon our door: one evening, a crow knocks a powdery puff of snow down upon you from that hemlock and all at once you become immersed.
So, soon after my review of their latest album, To The Dust: From Man You Came And To Man You Shall Return, and correspondence with one of the group’s musical forces, guitarist Charles Wyatt, I found myself inquiring as to whether he wouldn't mind holding an interview. And here we are:
Would you trace your intentions for this project named Charles Atlas, from when you first began through your various efforts to where you are presently?
Charles: I’m not sure what my intentions were in the beginning. I was exhausted from being in four piece rock bands and wanted to do something a little more interesting; something that really demanded attention from the listener. I think we have achieved that. CA means everything to me. We are not trying to fall into any category. When we record we just go into the studio thinking: let’s make something beautiful; something we can take home and listen to; something we can share with our friends.
What might a few memorable moments be, that is, ones that provided a shift in your perspective, or helped send your musical approach off in another direction?
Charles: For the first three records CA was just Matt [Greenberg, keyboardist] and I and when Sacha [Galvagna, multi-instrumentalist] joined we turned a corner. He really helped put things into a new perspective. I think he challenged both Matt and myself; our sound became tighter and the songs became more structured. Also, as we started to play out more we began to experiment with songs in a live setting; we almost began to write songs live by just giving each other space and allowing ideas to take a natural direction.
Under what circumstances was To The Dust... put together? Did it stray from past attempts and how do you feel about the end result?
Charles: Well, since we had been playing a lot of the songs live on TTD prior to recording we were more prepared when we went in to record. We already knew what the end result was going to sound like. We pretty much just rolled tape and played. I think the end result is amazing. It's our best work yet.
Generally speaking, I find TTD is imbued with a dense feel, with arrangements made up of numerous elements. Was this a conscious attempt?
Charles: We were making a conscious effort for sure; we wanted the record to be broken up into songs that could stand on their own. I think in the past we've created a mood and the records turn into one long piece. We were not as worried about mood swings between tracks this time around.
In the way many discovered amplification, noise and speed others now seem interested in quietness and stasis. Do you find that a tranquil approach crafts an atmosphere in which, people feel inclined to 'lean in' and engage with the on-goings? If so, how might you account for that effect?
Charles: It's all about what one is feeling and where they are at in their life, right? That's how it works for me anyway. If I'm having a shitty day I'm not going to pull out Music For Airports and sit, chill out and focus on my breathing; I'm going to put on Electric Wizard and get on my bike and ride as fast as I can. Making quiet music is the hardest thing I've ever done. I'm coming from a speed metal / punk background. When I was recording harder stuff I always tried to add these atmospheric textures that were placed somewhere deep in the mix and when I started doing this it felt really good and relaxing and I sort of just gravitated towards it naturally; I thought, why not try and make a record full of these colors and see what happens? So, I guess people will 'lean in' if that's where their head is. Most of the time with CA they just walk away because it tires them out or they pack a bowl and float with us.
In a way, is your act of creating music a way of miming your own perception/experience?
Charles: Sure, last year I went to a friend’s art opening and the first painting I looked at just sucked me in. I had some sort of revelation. I couldn't move, must of stood there for about 20 minutes. I turned around and walked out. I didn't need to see anything else that night. I went straight to our studio and wrote “photosphere”. It was like I pulled music from the painting. I'm inspired by all of my friends being so creative more than anything else. I'm lucky to have all these people around me making such beautiful things.
Charles: Well, I carry a journal with me and I'm constantly writing thoughts down. When I lived in Brooklyn last year I was sitting outside and a funeral procession came down the street. I called Matt and recorded it onto his answering machine. My eyes and ears are always open.
In a previous interview Matt stated that "C.A. has had a goal that is understood to be outside of our reach but which guides us nonetheless: to be in control of the beauty of the void." I wonder if you wouldn't mind elaborating on this statement. Moreover, do you believe each of you come from a familiar place as to what you wish to convey?
Charles: Overall, I think we share similar beliefs as far as what CA should sound like. As far as what Matt said in that interview I'm not sure I could elaborate on that. I've always thought that one could not control the void. Intellectualizing has always been Matt's department and my connection to the music has never been a cerebral one; it's always been a little more organic. I have a difficult time describing what we do.
How was the experience of setting words to your music? I understand TTD to be your first effort, which uses words…
Charles: “Edith” started out as an acoustic song; I would just play and sing it in my room. Then I showed it to Matt and Sacha and it became an instrumental known as "Demus". I still wanted a version with vocals so I asked Odessa [Chen] to sing on it. We took away the guitar part; added vocals and it became “Edith”. The song is sort of a journal entry. When I wrote the guitar part the words just came out. It's about my mother.
Do you have any literary interests? Authors or particular stories you feel especially inclined towards?
Charles: I love books. A few favourite authors: Charles Baxter, Richard Brautigan, and Billy Collins.
And might there be other artistic pieces, that is, artistic works ofany sort that have provided some sort of inspiration for your work? Have youever done an ode to a favourite idea, or emotion you've encountered in anovel, painting, etc?
Charles: Felt Cover is somewhat of a salute to Josef Beuys. He is all I pretty much looked at and read about during that recording. There is also a scene in the movie Naked that I've always wanted to put music to; maybe I'll work on that soon.
To The Dust: From Man You Came And To Man You Shall Return, strikes me as an interesting title. Might there be an underlying theme to this recent work, a philosophy or something of that sort?
Charles: Not sure how to answer this. TTD comes from the title of a book within a book. I'll leave it at that.
What do you yourself appreciate in music/sound? Do you hold any memorable moments with music, certain songs that trigger memories?
Charles: It keeps me alive. It's always been my best friend. Seeing the Beach Boys (first concert) in 1974 is memorable for sure. So anytime I listen to them or The Carpenters I'm taken straight back to my childhood. I think my favourite time of day to listen to music is in the middle of the afternoon; especially if I'm walking somewhere and it's a nice day. I can walk for hours with headphones on, just grooving up the road. A certain sound that has always intrigued me is that hum that you hear when the lights are slowly fading in a planetarium. I've been trying to capture that sound for years and once I do, I'm done!
Charles: I've recently moved from NYC to SF. I've been away for a year so we want to write some new tunes and play some local shows before hitting the road. This time around we might just select a few cities and choose bands that bring in a like-minded crowd. We demand a lot of patience when we play live. How many people want to go out on a Fri/Sat night and listen to music that is very quiet and intricate? Not many in this indie world. Most people want to rock out and have a few beers and forget about the crap week they have just had. (I know I do.)
In a previous interview you mentioned, with regards to what I believe was a comment about TTD, that you "think we're finally at peace with ourselves". Would you be willing to elaborate on this remark?
Charles: We are at peace with ourselves. I think what I was trying to get across was that in the beginning we struggled with the music to some degree. We were not letting thing come as naturally as we would of liked. CA is sometimes hard for everyone, the people making the music and the listener. We wanted immediate understanding of what we were trying to convey and not everyone got it, not even us sometimes. So we stepped back and decided that we have to live with whatever comes out and when we did that things became easier for everyone.
Do you attach particular memories, ideas, and/or emotions to any or all of the songs you compose? Or, even when playing, do you ever find your songs taking you somewhere, perhaps unexpectedly?
Charles: I don't really think of anything when I'm writing music. I sort of zone out and let my fingers go wherever they take me. When I'm playing live my head is all over the place; there are about a hundred different films going on up there. Usually maritime images; sometimes I'm floating, other times I'm under and grasping for air.
SELECTED DISCOGRAPHY
ALBUMS
To The Dust: From Man You Came And To Man You Shall Return (Ochre, 2004)
Worsted Weight (Ochre, 2002)
Felt Cover (Static Caravan, 2001)
Play the Spaces (Star Star Stereo, 2000)
Two More Hours (Star Star Stereo, 1999)
OTHER
Fabricate: Remixes of the Album Worsted Weight (Audraglint Records, 2004)
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By: Max Schaefer Published on: 2004-08-23 Comments (0) |
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