Spellling has recently published his new album, ‘Portrait of My Heart’, a very different job to ‘The Turning Wheel’ (2021) and the previous ‘Mazy Fly’ (2019): Far from the spells art-pop, baroque and soul of those two bright albums, Chrystia Cabral is delivered in ‘Portrait of My Heart’ completely to the guitars. In the interviews, California says that ‘Toxicity’ (2001) by System of a Down is the album of his life and remembers that adolescence spent listening to Radiohead without stopping. It was inevitable that he ended up writing an album like this. Jenesaispop was able to talk to Spellling Bloca via Zoom to comment on the content of this new project.
What music were you listening as a child?
When I was a child, I listened to Otis Redding, Curtis Mayfield, Donny Hathaway and Soul Pop like Erykah Badu, D’Angelo … My parents listened to classic rock, but at home there was music of all kinds. Since childhood I listened to unconventional things. From teenager I was a Alt Kid, and my friends discovered me System of a Down: it was my first favorite group, I went crazy with them. I also loved Muse, Radiohead, especially ‘in Rainbows’, which I heard without stopping; Blonde Redhead … that type of art rock that mixes genres.
Does the rock sound from the disc responds to the fact that the letters are more direct than ever?
Yes. After ‘The Turning Wheel’ I had an existential crisis. My ambitions were too tied to what I do, and I lived as a kind of birth of a new identity. During adolescence, I often felt that I didn’t fit. When I moved to Berkeley, for the first time I felt that I belonged to a place. But when I started navigating the music industry, I had a third identity crisis. I feel like a fit … but I don’t know exactly where. I believe in myself, but I don’t know if the place I occupy in the industry is what I really want.
Do you perceive that the industry is competitive?
The structure of the industry is like that. There are opportunities, but to some extent. It is very easy to constantly question your merit and your worth. I have compared a lot with other artists, and I have wondered if, having the same thing as them, it is because I am not good enough. The letters of ‘Portrait of My Heart reflect what I write in my diary, talk about mechanisms that do not work, of strategies that do not work. I know that my path is not conventional, that my destiny is not to follow that mold, and the more conscious I am one of that, the more I value my art. I am very grateful to my fans: some are very devout and loyal, and I know they listen to my music because they really care.
The industry right now rewards the niche, right? I think of Ethel Cain, for example.
Ethel Cain has the strength of being authentic with himself and with what he does, without trying to please to be more popular. You are using that crossover in a very interesting way. In his last album he did not play according to the rules of the manual: he is a real artist, not just an Entertainer. And it is important to make the distinction, because they are not the same thing.
«I feel like I fit… but I don’t know exactly where. I believe in myself, but I don’t know if the place I occupy in the industry is what I want »
Tell me about ‘Alibi’. You were inspired by Liz Phair.
Sometimes I write songs thinking that I am writing to other people. And I thought I was writing to Liz Phair. I composed it to the piano, but when I passed it to guitar, it began to sound very aggressive, and I imagined it interpreting it, because it has that hostile attitude, but with humor. It has that sarcastic tone, as if the joke were on all of us. I think humor is part of my daily life. I am a pretty Goofy person, and I think that shows in my music and in the photos (laughs). In real life I love humor. I like listening to monologues, because with a joke you can show a truth that you could not say otherwise. The Liz Phair lyrics are like this: poetic and direct. I wanted to make a song of that style. Punk pop roll, paramore …
How do you introduce humor in your music?
In ‘The Turning Wheel’ there are campiness, theatricality … because some songs are ridiculous and dramatic on purpose. ‘Boy in School’ hard about eight minutes, is almost masochistic. When I wrote it I thought “Why do I do this? And why do I do it to people?” (laughs). I like to resort to humor, but sometimes I wonder if that humor is understood or if it goes unnoticed. ‘Emperor With an Egg’, for me, is a real mess.
In ‘Portrait of My Heart’ sing «I Don’t Belong Here». Is your ‘Creep’?
I did not look specifically, but I am sure that ‘Creep’ has been an influence, although it has not been intentionally. But I like it so. In the institute I listened to Radiohead all the time, and it is inevitable that this influence will be noticed in my songs.
I think the songs dialogue among them.
Absolutely!
https://www.youtube.com/watch?v=vlupwprgaoi
Toro and Moi is on the album, in ‘Mount Analogue’. How did you meet?
He lives in Bay Area, like me. His study is two steps from my house. His music has obsessed me for years. Before dedicating myself to music, about 2012, when I was a university student, I worked as a receptionist at the Berkeley Museum of Art, and Chaz (Bear) frequented the cafeteria. I remember seeing him once and going crazy (laughs). I listened to ‘Underneath The Pine’ all the time, it was my soundtrack of the time. Once he entered the cafeteria and greeted him. I doubt it remembers.
And from there you became colleagues.
I am inspired by their ability to get instruments to sound organic and artificial at the same time. After ‘The Turning Wheel’ he and I connect through social networks and we both agreed in the canine park walking to our dogs. That was the first time we really talked in person. I told him that I was working in new music and proposed to collaborate in a song, and so it happened. I went to his studio, he taught me his last album before he left, I showed him mine, we gave each other mutual feedback. It was a dream come true.
Was this album to be double?
I don’t know if I can penetrate the mainstream audience with the music I do. I don’t even know if I want, or if it’s my destiny. But I know that many artists I admire tell me that they listen to my music. That makes me feel very validated. With Chaz it happened to me. Brandon from Turnsile said in an interview that I listened to ‘Little Deer’ and then the group proposed to turn with them. Pat McCrory of Turnsile touches the guitar in ‘Alibi’. I would never go so far from telling an artist that I listen to his music if I don’t, you know? Then, the success of my collaboration with Show Me The Body, ‘Magnum’ made me consider things. I thought that making a collaborations album was a natural step, but in the end it has not been given.
Anthony Fantano of The Needle Drop planted a 10 out of 10 to ‘The Turning Wheel’. It does not happen many times. Did you hit you in any way?
I did not know that that was going to happen, I remember waking up after I published the video and that thousands of blows began to follow me. I started receiving hundreds of notifications on my mobile and I was scared, I thought something bad had happened (laughs) did not know the influence that Anthony Fantano had until that moment. Croe that Anthony does a good job honoring his opinions and focusing on the artists in the proper way. His fanbase is interesting, in the concerts I know when a fan comes from Anthony Fantano. I see it in their eyes (laughs) ask many questions, some very specific. I appreciate that they come.
Many people from his fanbase are very young, probably teenage boys. It gives the impression that they admire him.
It is like a father figure.
https://www.youtube.com/watch?v=seqrouyakgg
