Outside the Box
Charlotte Martin's eclectic sound is as unorthodox as her approach to artistry—a Christian who originally signed to a mainstream label, only to go independent instead. Find out why.
by Andy Argyrakis | posted 4/07/2008
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Though Charlotte Martin may not be a name familiar to the Christian music community, it doesn't mean that she hasn't enjoyed some success … or that she isn't a Christian. Critics in mainstream/independent circles have hailed her as a modern day Kate Bush and Tori Amos, citing her deeply introspective lyrics—which sometimes express her spiritual beliefs—and a distinctly alternative-pop style which she developed with producer/husband Ken Andrews (known for his work with Pete Yorn and Story of the Year, as well as Mae, Thousand Foot Krutch, and Starflyer 59). Though she moved from Illinois to California in pursuit of a record deal, she would in time voluntarily split from her record label to go independent. Why? Read on as Martin discusses her unusual artistic journey, the role of faith and marriage in her music, and her current projects.
Let's start with some introductory stuff. When did you first sign with RCA?
Martin Getting a record deal was my first job out of college eight or nine years ago. At the time, it seemed like God was answering a prayer in terms of leading me to work, but my first record One Girl Army was never released by RCA. It was my first real disappointment as an artist and as a person because I worked so hard for nine months making that record and waited six months for it to never come out. I was really depressed at first because nobody knew what to do with me—the label didn't release the album, but they didn't drop me back then either. But I was in a dating relationship with Ken at the time, and he taught me how to record my own music, which led to us teaming up for my EP In Parentheses in 2003 and eventually my full-length debut On Your Shore in 2004.
And that second crack at an album was released and earned you a lot of critical acclaim. So why did you end up walking away from the label after that?
Martin It was a logistical/mathematical decision. On Your Shore did okay, but it wasn't pushed very hard by the label. I was on enough tours where I felt like I was the one that was promoting the music, and if that's all that was keeping the record going, what was the point of me staying with RCA? I worked so hard to give them an art pop record, not some little indie record, but they spent more money making videos [than promoting it]. There was a Sony/BMG merger [involving RCA] back at that time, and I just felt lost in the shuffle—yet they didn't want to drop me either. So finally, I was the one that asked to be let go. We parted amicably, and I toured On Your Shore on my own because after spending so many years on a major label [with little results], I just didn't feel like doing the same song and dance anymore.
There had to be some fears in making that decision.
Martin I used to be swayed if album sales were not hitting a particular threshold and worry about ticket sales. But here I am still doing it, and God has been very faithful! The wonderful thing [about being independent] is that there are no rules. I'm signed to myself, so I can put out records at my own pace—and it's been such a blessing that people are buying them. I don't have to fit in any box. A label kind of has the right to "buy an opinion" and tell you what they'd like from you, because they're the ones fronting the money. But the days of million dollar record deals are [mostly] behind the industry. Now I just answer to the opinions of fans, God, Ken, and management, trusting them all to tell it like it is. The playing field and canvas for artists to operate is so much broader these days. [Ken and I] have never been dependent on anyone else's money because we have our own gear and work great together.
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