Interview

(Progressive Newsletter Nr.53 09/05)
excerpts from an interview with Carl Westholm (Keyboards)

In early summer you’ve released your third album on your own, now, some months later, it has been re-released by InsideOut. How did you get in contact with them and why was the album released two times in a short period of time?

We didn´t plan to release the album twice, we released it on our own and just by accident Thomas Waber at InsideOut heard it, we didn´t send him any record. He contacted us the same week we released the album and we agreed to sign the license deal, but it was to late to inhibit our own release as we´ve alredy had the first edition manufactured - 1000 copies - that we´ve sold by now. Now InsideOut takes care of the buissnes and we focus on the music.


Is there something like concept or connection between the songs on “Man made machine”?

Actually not, we did not intend to do a concept album with a story or anything, not even concerning the music. Now afterward though, I realize that the record as a hole can be considered to be be a concept as the song with their atmosphere and sound somewhat relate to each other....


How difficult was it to arrange the orchestral and choir parts and give them the right balance in your music, not sounding too "over-produced"?

Ohh, you can´t imagine! I like to be just within the limit of what is good taste, and push it as close to that limit as possible, that means that one small change can ruin it all, just one harmony too much, one 12-string guitar too much e.t.c.


In my opinion “Man made machine” the most original, really matured album of Carptree so far. How do you see your musical development from back where you’ve started with your first album until now?

It feel like a natural development. When we recorded the first album I was really fed up with working with a band, I was more into drumloops and programmed synhesizers. We had no visions as I remember, The only important matter was that we, and only we, decided how it should sound. No band to argue with, no record company to take orders from, and that´s how it still is with Carptree. Now, as the years go on I get braver and introduce more intruments and more musicians without loosing controle of course. The songs get a bit different too, I think, I´m not the one to judge but maybe that´s more "mature", thanks anyway.


Is Carptree still a project of you both only or regarding all the musicians involved in this records, are these also gaining some influence?

Carptree is me and Niclas, we do all the writing and make all the decisions, but of course the others influence us a lot, we could never have done this without them. Remember, "No future orchestra" as a band has never been in the same room at the same time, I record and work with them, one by one. From that point of view, it can not be concidered as a traditional band, but they are much more than just guest musicians.


Does it help you or is it more a problem, that you have a truly original sound, that can be categorized that easy?

I´m a bit curious about how to categorize our sound as you mention, but anyway I think it´s mostly good if it´s really that original, again: I´m not the one to judge.


Kristian Selm © Progressive Newsletter 2005