{"id":459,"date":"2013-11-25T09:21:22","date_gmt":"2013-11-25T14:21:22","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=459"},"modified":"2025-03-17T12:50:04","modified_gmt":"2025-03-17T16:50:04","slug":"circuit-des-yeux","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/circuit-des-yeux\/","title":{"rendered":"Circuit des Yeux"},"content":{"rendered":"

\"Circuit<\/a><\/p>\n

Should the title of Circuit des Yeux<\/a>\u2019s latest album, Overdue<\/i>, be taken literally, Haley Fohr has had this record burrowed deep inside her psyche for quite some time. Throughout Fohr\u2019s discography, there have been a number of breathtaking moments of both the awe-inspiring and clutch at your throat variety, but never did it seem there was a time to exhale. Reflect on 2009\u2019s Sirenum<\/i> and 2011\u2019s stunning Portrait<\/i> and it\u2019s easy to find beauty and grace and even melody, but again, most of the time you had to dig to find it or perhaps hallucinate its presence. It seems obfuscation through noise and primal clatter has never been Fohr\u2019s preference, but rather a way of life, an instinctual trigger to ward off those who might become too attached, a Jekyll and Hyde duality that refused to set a balance.<\/p>\n

Overdue<\/i> is where the strings come in. Overdue<\/i> is where Fohr pushes any angst aside (save the chilling \u201cI Am\u201d) and reserves it for the album\u2019s cathartic closer. It\u2019s a record that embraces change and utilizes that change as a challenge. But don\u2019t interpret change as transformation. Transformations are for butterflies and robots. Overdue<\/i> is more about exploration (she explores instrumental folk on \u201cBud and Gin\u201d and operatic composition on \u201cLithonia\u201d) and evolution. At the album\u2019s center, as always, is Fohr\u2019s unwavering voice. As a siren, it guides each song through the increased peaks and valleys and dark black chasms found in these heightened recordings. Overdue<\/i> serves as a detailed map of where Fohr has been (going from West Lafayette, Indiana to school in Bloomington and onto the hustle and bustle of her newly adopted base of Chicago) and where she\u2019s undoubtedly headed.<\/p>\n

I recently caught up with Fohr on the eve of a national tour opening for Bill Callahan to talk about, among many things, how all of this change has affected her as an artist and musician.<\/p>\n

Right from the start of the album, you can tell this is a different approach for you. Is everything still of your hand completely? <\/b><\/p>\n

Haley Fohr: <\/b>This is the first album that I invited other musicians to play and invited another person to record the sounds.\u00a0 It\u2019s been a great experience. Estlin Usher arranged \u201cLithonia,\u201d and I hired a quartet.\u00a0 Cooper Crane tracked everything, which was a big load off my mind. I really had to push outside my boundaries and reach uncharted territories. Each of these musicians helped me achieve that goal. The credits are actually featured on the front of the album.<\/p>\n

I know you just graduated from Indiana University with a degree in music. I can definitely hear an evolution on Overdue<\/i>. Do you attribute a lot of what you learned at school to this evolution? <\/b><\/p>\n

HF: <\/b>Absolutely. I learned so much about sound, patience, and discipline. I had a friend, Grace, who was double-majoring as an audio engineer and performance in cello. She told me she would practice five hours a day in between classes and I thought that was pretty incredible. I began practicing guitar a lot, sometimes eight hours a day. We also had these \u201ccritical listening\u201d assignments that were just great.\u00a0 The production on those Top 40 radio hits is insane!\u00a0 Eight reverbs, six delays, so much automation\u2014it was really interesting to me.\u00a0 I definitely went into recording Overdue <\/i>with overproduction in mind.<\/p>\n

A lot has been made about the environment in which Overdue<\/i> was recorded, and how you constructed a studio for the sole purpose of making the album. Can you elaborate as to how this setting enhanced the mood of the music? <\/b><\/p>\n

HF: <\/b>Well, the songs were completely demoed before going into the studio, something I had never done. There were some pros and cons to the studio. We built it out ourselves and put a lot of effort into it, so in a way it was a sacred space. There wasn\u2019t a huge time constraint. Cooper was open to recording whenever I felt like it, and we\u2019d be there from 10am to midnight on any day of the week for two months. That gave a lot of room for retakes and getting shit really tight. It was really, really cold in the studio, and I remember loving to do overdubs since I was able to sit in the control room, where it was warmer. I think the moods of the songs were embedded when they were written, but USA Studios was a comfortable and creative space, and that is very important when recording.<\/p>\n

And your move to Chicago? Did that transition feed into the music at all?<\/b><\/p>\n

HF: <\/b>There has been a lot of change in my life in the past year, with location being the main contribution. It changed my perspective on the world. Both my home at the time and USA Studios were located in Pilsen. It\u2019s a very alive place and constantly crawling with things. That specific neighborhood and my surroundings really had a lot to do with the record and some of the ideas that were going through my mind at the time. I think all of my records are closely tied to the location of recording.<\/p>\n

On \u201cLithonia,\u201d you say, \u201cIsn’t it grand to have a second chance?\u201d I feel like this line in particular is emblematic of the record as a whole. Is Overdue<\/i> a \u201csecond chance,\u201d and if so, from what? I’m more of the inclination that this album is a new skin, forcing yourself to make the record you\u2019ve always wanted to make. <\/b><\/p>\n

HF: <\/b>I don\u2019t really like translating my own lyrics for others. They\u2019re multi-dimensional. The record, as a whole, is in response to the abstract confines that money can put on a person and the arbitrary nature of time. I\u2019m attempting to focus my lens on the world. Consumerism and escapism are both ideas that have been imbedded in me, thus they find their way into Overdue<\/i>. I\u2019m thinking in broader terms than just myself.<\/p>\n

Speaking to that, have you had a record of this scope in your head for a while, but not had the resources to fulfill that vision? <\/b><\/p>\n

HF: <\/b>I\u2019ve been writing this record in my mind since Portrait. <\/i>A lot of maturation had to happen for me to get to Overdue. <\/i>I didn\u2019t have any time constraints, so if I decided I wanted a string quartet, I would wait a week, a month, however long until I had the money for those resources. I want this record to be forever. Now that I didn\u2019t have any obligations to school, I would work and save and work and save until I could seek out my vision to the fullest.<\/p>\n

I also think there is a lot of concentration on \u201cfreedom\u201d and \u201cdreams\u201d vs. \u201cgrowing up\u201d and \u201creality.\u201d Are those themes that informed the writing here? <\/b><\/p>\n

HF: <\/b>Yeah.\u00a0 I can see the confines of life and this box society can try to force on a person. I feel like an outlier, and while I\u2019ve been seeking out my own reality for a while, I\u2019m pushing towards living a life out of the norm within our world. I\u2019ve evolved from a child with a vivid imagination, to an angsty teen with a bright future, finally to a grown woman who is considered a dream chaser. I feel like maybe a lot of people who don\u2019t personally know me are confused by my actions. Tangible things that are indicators of success aren\u2019t exactly happening for me. I hope I can be an example for someone young out there, of creating your own dream and following through. It\u2019s not \u201cThe American Dream,\u201d but I came from nothing, and I think finally after seven years, I\u2019m starting to get to something. But I\u2019m really happy right now in life. I feel a slow momentum evolving and I think if I keep working, keep on walking, I\u2019m never going to run out of road.<\/p>\n

There\u2019s more leaning towards classical and folk on Overdue<\/i>. Though I think everything you do is wholly personal and of your own design, were there any particular records or general inspiration for this shift? <\/b><\/p>\n

HF: <\/b>I honestly think every record I\u2019ve made as Circuit des Yeux has been a folk record. I remember playing Columbus and talking to Matt Whitehurst after Symphone<\/i> was released in \u201808. I was telling him how I wanted to be a folk singer and write folk songs. Obviously my earlier releases fell more into the avant-garde\/experimental realm, but they never seemed so warped in my mind or so obviously strange at the time. I can\u2019t say that any records gave me inspiration. I think it was just over time listening to a lot of singer-songwriter material and practicing often helped me translate a folk element a bit more clearly.<\/p>\n

And the title of the record, Overdue<\/i>, what\u2019s the significance of that?\u00a0 <\/b><\/p>\n

HF: <\/b>There is a lot of subtext to the title. Anxiety, arbitrary timelines, money, the unrelenting clock, getting from one paycheck to the next, a falter, a pause in a moment where there should be action, not having arrived, things that are expected, a time that is too late, etc.\u00a0 Just looking at the word on a page invokes an anxious feeling. But then I have to think, \u201cWhy?\u201d Overdue? What the fuck does that even mean? I want to make my own timelines and I\u2019ve got my whole life to do what I want to do.<\/p>\n

You\u2019ve said how important this record is for you. What sets it apart from your past? <\/b><\/p>\n

HF: <\/b>Everything just feels right. I really gave it my all. I wrote it, recorded it, helped create a studio, started my own record company to put it out, etc. I feel like this record is more a part of me than anything I have ever created. It\u2019s totally engulfed me as a person. I can\u2019t go out and have a social life because every penny I made I put into this project. It\u2019s taken over my entire identity. It\u2019s an indescribable moment. But it\u2019s a nice moment to be in.<\/p>\n","protected":false},"excerpt":{"rendered":"

Should the title of Circuit des Yeux\u2019s latest album, Overdue, be taken literally, Haley Fohr has had this record burrowed deep inside her psyche for quite some time. Throughout Fohr\u2019s discography, there have been a number of breathtaking moments of both the awe-inspiring and clutch at your throat variety, but never did it seem there […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[170,171],"class_list":["post-459","post","type-post","status-publish","format-standard","hentry","category-features","tag-circuit-des-yeux","tag-haley-fohr"],"yoast_head":"\nCircuit des Yeux - The Agit Reader<\/title>\n<meta name=\"description\" content=\"Feature: Interview with Haley Fohr, a.k.a. 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