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10 Questions: Carla Bozulich - sa. 24.10 pmk

10 Questions: Carla Bozulich - sa. 24.10 pmk

Geschrieben von: Bradford Goodwin
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Thank You (us,thrill jockey) The Scarabeusdream (at) 16.10. PMK

There are things in life only dead people can afford to miss, and so it is with this Saturday night (24 October) at P.M.K, when a force of nature will rock the paint off the walls, rattle the roosting pigeons off the rooftops and shake the shimmer off the Golden Roof itself: Carla Bozulich and Evangelista are going to tear this town a new eardrum. Miss them at your mortal regret! Anything I could tell you about Carla has already been said better, and none of it has half the eloquence of a single one of her songs. Indeed, Carla says it best of all, so I asked her a few questions to keep her from falling asleep at the wheel on the way to Innsbruck. Okay, not really, but she did take a break from her busy tour schedule to talk about writing music in collaboration, life on the quiet in L.A., her fascination with evangelism, and more:

Not only have you played in and/or spearheaded a handful of bands (Ethyl Meatplow, The Geraldine Fibbers, Evangelista), you have also partnered with artists ranging from Willie Nelson, Tom Waits and Nels Cline to Lydia Lunch, Thurston Moore and Beck. Does collaboration come easily to you, or are you more comfortable creating independently? Does your creative process change when you are working with others?

Carla: I love to collaborate, especially live. As a matter of fact I really only like to play live with another person or group of people. Playing alone has been unfulfilling but I do want to get better at it so I am more confident. As for collaborating in the studio, it is really fun to write with other people. When I work alone in recording I become very intense and very instinctual. I act like a simple animal with only a few cares in the world. To eat and sleep enough to keep working, etcetera......that sort of thing. But when I am performing other people's music it is great because I can enjoy creating a new sound with them but trying to respect exactly the essence of the music. Or.......... just fuck it up completely. Since the Geraldine Fibbers, your work has become less "traditional" with each consecutive release. Moreover, your more recent music often seems "cathartic", shunning hooks for slow builds of multilayered, yet organic-sounding instrumentation. You seem to be casting out demons. Are you exorcising yourself of musical tradition? What is your relationship to "traditional music?"

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Carla: I am not exorcising myself. I want to keep my demons.

all sorts of adventures with emptiness and is more of a catalyst for unobstructed power. I try to then just plug in to the audience and let it go all over the room. Traditional music is too broad a term for me to answer to but for the most part traditional musics of different cultures are beautiful and from the heart. I can usually love this stuff pretty easily. As for American traditional, oh man, if I ever lost it I would beg to get it back. To what extent is your music biographical? Is there a difference in this regard between your music more specifically, your songwriting and your writing? Carla: I wish I could say it wasn't true, but 99% of my writing is biographical. I say I wish it wasn't because I do not want to be always obsessed with myself. The saving grace of that is that I feel I am touching on things that many many people can understand and take something away from that is personal to them. Even if it is not what I mean to say it is marvelous when someone gains something and goes home with some feeling from inside that they were not giving any notice to before. Something that they missed..... You are based in L.A., where Hollywood and the porn industry also have their bases. Do either of these illustrious circles intersect or overlap with the L.A. music scene?

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Carla: Not really. When I am in LA, which is not much, I stay in a very quiet area far away form everything you're talking about. I never ever see it.

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Is the line "All hail the sound within the sound" in the song "Evangelista 1" from your 2006 album Evangelista a reference to the drone, of which you are known to be a devotee? Carla: No, the "sound inside the sound" is meant to be a way to thank or get close to something that is in music that kills boredom and rules over mediocrity for those that stand up and surrender to it. Something that can inhabit your whole body and make you know that music can actually do what god does for some people who get their soul mended in church. Of course you mentioned the drone....... well, that is an excellent way to get where I am talking about. It can just drive right inside and make it alright. You could do a lot worse in life than worshipping the drone. You have a very distinctive voice. Do you work on it, or does its texture come naturally? How does it sound to you when you hear yourself on recordings?

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Carla: I have never had a lesson but when I started playing I did not have a particularly strong voice. I didn't write very good lyrics, for that matter. I play all the time. It doesn't matter if you play at home or in the garage or on stage. Just play and you will get better and better. I am still feeling stronger and learning more each year.

When recording, are you conscious of working within (or outside of) a particular genre? Why on earth does your music always wind up in the "jazz" section? Carla: I give no thought to genre. It is too bad that people need those words to decide whether they are gonna check out a piece of music, but they do....... As for jazz, well, I can't say why that would be a popular choice but then, I've fallen in to pretty much all of them at one time or another so I'm not surprised. Tell me something about the novel you're working on. Carla: It's about a little girl who is orphaned and lives with a pregnant, crazy lady who goes into labor and while the baby is getting born it is breach. The mother and unborn baby are both dying. The girl goes into some kind of desperate trance-----"seeing red" we call it, and next thing the mother is kind of ripped open and dead and the child is alive. It is about what happens after that----over the years.

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What is it that fascinates you about evangelists? Carla: Control and sickness. Hate disguised as life in heaven. Evangelists may not all be bad, but there are many who are just collecting HUGE money from poor people who watch them on TV or travel hundreds of miles to be near them. The control they have and the ability to lead people anywhere-----and the way that some of them teach the most hateful ideas, the most dangerous and destructive ideas and people follow. I believe that music can bring about the exact same kind of power but for people to have for their own and share and make it as crazy and intense as they want to but without wanting to kill gay people and without telling children. Teaching that non-Christians of any type-----alll of them------will BURN IN HELL. Oh man, that's just not ok, and yet they can get millions of people to believe and agree with these things! The earth is 6000 years old etcetera, etcetera, there are a thousand problems with that system of control but it is interesting I guess and inspiring because it seems possible to generate that energy in our own public places with music and sound, itself. Also, just to say as a thought, darkness is infiltrated all over my best music. It could be construed as evil or at least hateful. But believe me, I am all about love. I can't talk to much about that because I don't understand it. I guess it's important to move through things that move you. Answer a question you would like me to have asked you, but which I didn't. Carla: Why am I so shy and yet I can do what I do? I don't know I just try to stay out of the way and be as surprised as you when something cool happens.
www.carlabozulich.com/

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