Into the light

One of the most rewarding aspects of diving into any artistic endeavor is being offered an insight into the territory — both emotional and physical — from which it arose. And there is probably no better example of that than upon Carrie Clark’s latest recording, Seems So Civilized. When you wander through the brooding, bittersweet ballads of the Seattle-based singer-songwriter, you are seemingly imparted with a real sense of the world from which her music arises. So did the Pacific Northwest actually play a hand in guiding the album’s dark overtones?

“Quite possibly,” Clark says, laughing. “It can be pretty grey and rainy during different parts of the year, especially when you get into November, December and January, and there comes a feeling where you know it’s going to be grey for a very long time. And that can take a hold of your inner emotions and often it can get you feeling a little bit sadder or frustrated. But then there is the summers which are so beautiful and so much worth that darkness.”

The climatic intricacies of the Northwest stand as a strong metaphor for Clark’s music.  She might wantonly embrace the grayer and chillier end of the emotional spectrum but, in sojourning through her work, the ultimate reward is something resonantly beautiful —  which is something that throws forth its own set of challenges when it comes time to embellish the work upon a recording. In particular, finding the right producer.

“There were producers in Seattle that I wanted to work with, but the timing wasn’t working out,” Clark says. “They were either available when I wasn’t or visa-versa. So I asked one of them who they would recommend that was a similar style to [what] they are, and this guy said the best thing you can do is to listen to records that really struck you and look at the producers and contact them.”

In heeding this advice, Clark turned to her music collection. Being a fan of artists such as the Sadies and Neko Case, the obvious choice for Clark’s latest recorded endeavor was Canadian producer Darryl Neudorf. Having guided to fruition recordings like Neko Case’s Fox Confessor Brings The Flood and the New Pornographers Juno Award-winning Mass Romantic, Neudorf had no trouble embracing the beautiful fragility of Clark’s compositions while also respecting the inherent defiance of Clark’s work. It was an experience Clarke is most grateful for.

“I read that Darryl was in Vancouver, so being from Seattle didn’t seem too far out of my range,” Clark said. “But it wasn’t until he actually got back in touch with me that I found out he was in Toronto, and I was a little disappointed by that because I wasn’t sure if my budget could handle it. So we talked it through and he was able to work within my numbers. It worked out so well. The record has a dark, sweet quality, and a lot that comes from Darryl. So I am really glad I got to work with him.”

Working with numbers is something that just about every independent recording artist knows too well. While both their muse and vision typically knows no bounds, the harsh economic realities often dictate the direction a specific recording takes. There is certainly an artistic luxury in having no one to answer to yourself, but it can also be a lonely world out there when comes time to the financing the production of an album independently. But Clark feels that can be negated by turning to the very people for whom you are making the recording.

“It can bring you to tears,” Clark says, “because you are not sure how you’re going to get the phase accomplished. But if there is enough determination there, or, you’re willing to take that awkward step of asking your fans for presales and to put the word out that you need some help in order to get the record completed.  I have found that people tend to want to be part of something and I have been lucky that they have wanted to jump on and help.”

But that support also stems from a much broader platform. In shedding its preoccupation with the grunge sound that consumed the last decade, an array of inflicting songsmiths has hailed from the Pacific Northwest of late. What was once a bastion of grinding electric guitars, ripped jeans and flannel shirts has now seemingly realigned itself into something a little more heartfelt. The time is right for the region to embrace its musical roots.

“I know the term alt-country has been used and abused, but there’s now a pretty good resurgence of the Americana roots based music in Seattle,” Clark says. “But I think you will find that our version of it has got a little darker and has some grit to it. But it’s Seattle grit — not the Southern- based rock. There a lot of bands coming out of there that are just fantastic. They’re roots-based, but still maintain a little of that Seattle darkness.”   

Carrie Clark
March 26, 7:30 p.m.
at Zoey’s Café
451 E. Main St., Ventura, 652-1137