Charlie Williams has one of those minds that is frightening in it’s creativity. This is a guy who not only plays beautiful music, he composes, arranges, develops new sounds, and then thinks about physics and builds a circle-of-5ths clock in his free time.
Only out of this kind of brain could Mira Mira emerge, a band where beauty and geekdom live side by side, and inspiration comes from anywhere. Their latest project, Music for Scientists, brings the technical world further into the musical one,and creates some really fascinating songs and sounds.
Having first known Charlie as a classical musician, studying piano at the Meadowmount School of Music, and then through the many various stages of creative development that have come since, I was so happy to hear what he would have to say about his journey and musical tastes.
How did you get started playing music?
My parents got an upright piano from their landlord when I was very small and we lived on the Iron Range in northern Minnesota. I wrote songs like “This is a Rocket Ship Taking Off” and “This is a Rainstorm” for a while, and eventually got lessons. Eventually I got a keyboard and played in a band in high school, and somehow fell into writing music for school plays, which is how I got started writing actual structured pieces of music, as opposed to improvisations.
What was the first recording you ever purchased?
Wow, that’s a real Freedom-of-Information-Act type question. Um, it might have been: (a) Billy Joel’s “Storm Front” cassette, or (b) MC Hammer’s “Too Legit 2 Quit”, also in cassette form. Billy’s got the better album, but MC has the better single. Can’t touch “U Can’t Touch This”, though. That’s still Stan’s best work to date.
How would you describe the music you play now?
Now? Lately I’ve been trying to focus on what I’m best at— playing the piano and making weird electronic textures. I’ve been inspired by the music of Yann Tiersen (Amelie), especially after I saw him live at Logan Square Auditorium and he wasn’t all sugar and spice. He’s such a master of simplicity, without ever writing simplistic music. Also, his band has ondes martinot, concertina, violin, ukulele and melodica. Wow.
Your band, Mira Mira, has changed personnel over the years – is it a sound you are looking for, or a particular group of people?
I think I was chasing after a sound with Mira Mira, but I also didn’t always make the best management decisions. You might say. I was lucky to play with a large number of very gifted musicians, but several times we added someone to the band who wasn’t making music their way of life, and that brought some stress to the full-time musicians in the group, who were used to a different level of dedication and focus. I’m not saying that we always were ready to know what to do with a higher level of focus, but for whatever reason things never fully coalesced.
But to answer the “sound” question in a different way, I think I’m still searching for a sound. And maybe a group of people will come with that, or help me find that. Right now, though, it’s me and the piano.
How does your classical music background feed into what you’re doing musically now?
On the one hand, it’s great to have an instrument where you know you can play anything, and that’s what classical training gives you. On the other hand, I love to surround myself with instruments I don’t know how to play— lately clarinet and bandoneon, as well as ukulele, have been inspiring. Uke is sort of in a separate category because almost everything you do sounds great. It’s so much fun to play. But when I’m playing an instrument I don’t know, I have to really be fully present and focused in order to do anything at all, and I think correspondingly my musical ideas are a lot more interesting. On piano it’s possible for me to run on autopilot. These other instruments are teaching me how to get out of that habit, whatever instrument I’m working with.
Is there a comparison you would make between your music and something non-musical? A painter, building, dish of cereal?
My music is like a pear tree.
Who would you consider your musical inspiration?
Andrew Bird is a big one. Every time he puts out an album it makes his previous albums look like warm-ups. This is, like, four albums in a row he’s done that for. Radiohead would break the laws of physics if they kept doing that, but of course everything they do is perfect and inspirational. Also since I’ve been working with Max/MSP this year, the fact that Johnny Greenwood uses that program onstage has been prompting me to try to hear what they’re doing with it in albums and live shows. I only recently got into Ben Folds, but I think he’s an incredibly talented guy and I also respect his production skills a lot. I took a break from Wilco for a while, but now I’m enjoying them again. Not the most recent album, but YHF and Ghost.
If you could pick a perfect lineup of bands (dead or alive) for a show where you were the headliner, who would it be?
Oh jeez. I don’t think I’d be able to go onstage if these famous acts I admire so much were to stoop to share a show with me. I’d have to pick bands I’m friends with — The Cedar, from Bristol, UK are one of my new favorite bands, and I’d love to play a show with them. Also Rob Sharples, from London. I could play a show with those two and not feel totally ashamed of myself.
What attracts you to a particular song? An Artist?
They have to be trying their very hardest, and not treat the music like they might break it if they get something wrong. One of the reasons I love Joanna Newsom is because of this quality. Also the Magnetic Fields.
Who should I be listening to right this very moment? Why does their work get you excited?
The Cedar and Rob Sharples are two that aren’t well-known on this side of the pond, but should be. They’re both benefiting from the emphasis the British put on really well-crafted songs, and they’re both also saying something really, truly new without tearing their genre to bits. That’s harder to do than it seems.
Listen to some of Charlie’s music:
Pick up an album, while you’re at it: