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.

Did your relationship with Ken develop from your professional collaborations?

Martin: Actually, we were together before we started collaborating. We first met as friends and then later wound up dating. When I was frustrated about the first record not releasing, he helped me learn how to record on my own. We were engaged in 2004, which was really a hard year because that was during all those issues related to On Your Shore, and there were rough times on his end because a project he was working on wasn't working out either. So it was very up and down, but everything ironed out by the following year when we got married, and we still work great together to this day.

What is your impression of the faith-based bands that Ken has worked with?

Martin: I love meeting them because their story is so very similar to mine. Sometimes Christians get a bad rap for being judgmental, like those billboards along the highway that tell people they're going to hell. It's been refreshing to meet other Christian artists who aren't like that. [Like me], they work to fight through all the muck that's not of God—that crappy fire and brimstone stuff.

One of the first [faith-inspired bands] Ken mixed was Copeland, and later Black Rebel Motorcycle Club. They're Christians—very spiritual guys—though a lot of people don't know that [from their music]. The guys in Mae are artists who happen to love God, and that's how they want people to know them. And Future of Forestry is one of my all time favorite records that Ken has ever worked on. You can hear me on the background vocals for that, as well as Thousand Foot Krutch—they needed some girl vocals and I happened to be around at the time.

So is it fair to say you weren't that familiar with the Christian music market prior to those experiences?

Martin: I hadn't been too familiar, although before I moved to L.A. to do music, I did go to Nashville because I had considered going into Christian music. But they all thought I was from outer space [with my musical ideas] and I never felt like it was the place or genre where I'd be able to develop my own style. I'm a Christian who just happens to be a musician—some of my songs express my beliefs, some of them don't. But then, not every Christian doctor talks about faith to every patient either. I'm not compelled to preach [through my music], but faith is automatically going to come through from time to time because it's what I believe.

As a person of faith creating music for mainstream audiences, how are you able to remain true to your beliefs, yet also remain approachable when reaching out to others?

Martin: It's my job to love, not to judge. My friends and fans are made up of people from so many different backgrounds. Different faiths, ethnicities, and sexual orientations—it's still my job to love on them. Most people now know I'm a Christian, yet they're still supportive. They don't cringe, and that's because I'm not spending my time criticizing them. I'm there to love them and to make my music.

Your faith does come up in many of your songs. Which ones do you feel best express your beliefs?

Martin: "Redeemed" was written in response to the most horrible e-mail I ever received. It basically said I had no business being in the music business because I ripped off so many other artists and I should instead go back to the hole where I came from. When I read that email, I didn't judge the person—I was just horrified that anyone could be that cruel when they'd never even met me. But then I also wrote that song in response to my own hateful moments—times when I wasn't exactly the perfect person and times I had let my friends down. Which sort of brings it all full circle. We're all in need of hope, and we're all looking for redemption. Still, aside from the e-mails I get from close friends and fans, I haven't checked e-mails ever again after that experience!

"Veins" is another one that comes from a very emotional place during a time when I was having sleeping problems and experiencing anxiety. Like a lot of my songs, it's just a painting of what's going on in my soul—the emotional and spiritual tug-of-war inside.

You're very passionate and personal with your songwriting, so why an album of cover songs like Reproductions?

Martin: I'm always writing and recording. But last year I had a miscarriage and it really burnt me out, so I stopped writing for a bit, feeling bored and uninspired for the first time. During the break to recharge my batteries, I ended up covering bands like The Cure and many of my other favorite artists. It was a really good time, and ended up as Reproductions.

Then Nettwerk Management [the company that also handles Jars of Clay and Leigh Nash] started representing me as a songwriter. I had a lot of cuts on other records from artist/friends of mine, some of which did okay, so I soon found myself in co-writing situations. Just the other week, I was writing for a possible new Kylie Minogue project, as well as something for a Blue Note (i.e. jazz) artist, and also something for Nickelodeon—talk about an identity crisis! If you look back to Stromata, it was all over the place by design. Now I find myself writing everything from cabaret and opera to electronic and stripped down folk. So, I've got a lot going on and my brain hurts just thinking about it! But I'm finally diving into a new Charlotte record.

Not that you don't have enough going already, but do you and Ken have any side projects outside of an original album and writing for other artists?

Martin: Yes, the plot thickens! Ken and I are working on a project he started called the Los Angeles Digital Noise Academy. At first it was an "FTP digital band" where musicians and producers posted on the internet, swapping files back and forth and adding their contributions, but now we've whittled it down to seven core members. Outside of me and Ken, it's players from The Eels, Creeper Lagoon, Blinker the Star, Beck's band, and my drummer—since we all have such different approaches, every song is so different! In this day and age, we're not worried about it, because people aren't buying full albums anymore. So that's what Ken and I are working on together right now, other than honing out the next Charlotte album in our own studio.

What's new in your personal life outside of all these musical plans?

Martin: I also have another trick up my sleeve outside of music—we have a son about to be born in the next couple weeks! I'm working till I pop, but I'm not on the road right now. I'm going to take a month or so to be a mommy before getting back to performing. But the studio's here and it's not hard for me to work, though the pregnancy has affected my writing a lot.

How are you feeling emotionally in light this great news, especially after experiencing complications before?

Martin: Today I woke up pretty terrified, though I am a person who always likes to make big, sudden changes—especially if things get too stagnant. I moved from Illinois to L.A., got signed, only to leave the label shortly after. Now I'm making records and touring while having a kid at the same time! I'm getting excited to know him and see him grow up. As much as I love my job, we're so blessed with this news. After losing our last baby, I felt like there had to be something more. I'm not one of those super stay-at-home moms—God bless those that do. Ken and I have wanted kids for a while, and we started trying after I turned 31 last year. Now I feel like I swallowed a watermelon, plus the low end [speakers] in the studio are really intense—when the levels get really high, the kid kicks me in the ribs!

What are you looking forward to most about the next season of your life?

Martin: Reproductions came after a miscarriage and the process of trying again, but it seems like having a baby is our biggest production yet! We're looking forward to knowing him and he's already growing up around pianos and guitars. We're looking forward to that kind of love even though we still know what it will feel like, but we're not afraid of working either because we'd work hard anyway!

You can learn more about Charlotte Martin by visiting her official site at www.charlottemartin.com.

Copyright © Andy Argyrakis subject to licensing agreement with Christian Music Today. Click for reprint information.

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