C’est Karma spricht im Interview über ihr Debüt-Album

C’est Karma im Interview über ihr Debütalbum; Fotocredits: Rari Matei

C’est Karma debütiert mit ihrem Album „how to peel an orange“. Wie man die Orange wirklich richtig pult, darüber gibt es mittlerweile zig TikTok Tutorials und es streiten sich weiterhin die Geister. Dass man daraus eine Analyse werden lässt, hätte man jetzt bei diesem Albumtitel wohl eher nicht gedacht. C’est Karma setzt sich in den 13 Tracks tiefgründig mit sich selbst auseinander. Mit ihrem kulturellen Erbe, ihrem Trauma und der Gemeinschaft. C’est Karma ist ja nicht nur Musikerin. Sie ist auch Aktivistin und sieht sich eher in der progressiven Musikszene. Sie forscht über Popkultur und sie kann Geschichten schreiben. „Auf ihrem Album verwebt C’est Karma die Geschichten ihrer revolutionären Vorfahren mit Botschaften der Unterstützung für diejenigen, die von unserer grausamen Gesellschaft marginalisiert werden.“ – so steht es im Pressetext und diesen Ausdruck finde ich so gut, weil die Musik inklusive Inhalte auf den Punkt bringt.

Für dieses Album muss sie tief graben und auch deswegen wirkt es so introvertiert. Ihre Songs sind dicht gelagert und deep. Mal platzt fast die Box durch die beladenen Synthies. Mal legt sich eine Zärtlichkeit an den Tag. Wow. Wir sprechen mit ihr über ihren Werdegang, als sie mit 14 Jahren in einer Punk-Band war. Wir sprechen aber auch ihre Songs. Natürlich.

Karma, you started your musical journey at 14 in a punk band. How has this early experience shaped your development as an artist, especially now that you’re releasing your debut album, how to peel an orange?

C’est Karma: „As a teen, I turned to punk music because I was looking for a physical musical experience and the fast, loud sounds punk music had to offer fulfilled that desire perfectly. At the same time I was undeniably a very rebellious teen, trying to subvert social norms wherever I could,
the punk scene had exactly that to offer. I think what I’ve taken away from those early days in my music career is the uncompromised drive to create art and music I like. It also influenced the way I perceive and design sounds as I am still drawn to the violence of sound even if it manifests itself in a more subtle way now. I think punk gave me a very good introduction to the music scene in that way, I first learned how to not care before diving into the pop music scene in more recent years and I really think that that was a highly valuable experience that shapes the way I move through the musical landscape up until this day.“

I associate different emotions and vocabularies with each language which makes the writing process more interesting to me.

Your debut album explores the theme of self-discovery. What personal challenges and insights influenced this creative process, and how do they manifest in your songs?

C’est Karma: „Like I mentioned before, but I was a rebellious teen, always trying to find places to fit into but always avoiding the mainstream. I think the album describes this journey of looking for who I am as a young adult, where do I fit, what’s my place in this world and how do my experiences impact the person I have become. The album also tackles a lot of traumatic experiences and abuse I have lived through but I think (or at least I hope) that it is the love tales about my family, my cultural background, my lovers and friends that champion on this compilation. Especially the trip to Portugal, I took to record the album back in 2023 had a massive impact on the record. My family is originally from there, but fled the dictatorship in 1973. Going back to work on the record made me rethink, reimagine and reconnect with this heritage and I think you can hear it both musically and lyrically. It was a very immersive and intense experience that confronted me with my deepest anxieties and greatest joys about where I come from.“

The lead single „Handlebar“ exudes confidence and is a statement of self-assurance. What does this song mean to you, and how does it represent your current artistic identity?

C’est Karma: „I always say that Handlebar is half self-irony and half manifestation. I tried to describe the experience of trotting the fine line between selling out and being successful in the pop music industry. It’s a field reigned by capitalism at it’s finest that often makes it hard for smaller
independent artists to make it. I am very confident in the path I’ve chosen, self-releasing the album and with this song and record I want to prove that I can make it against all odds by choosing a path that feels honest, safe and sustainable to me.“

You sing in three different languages on the album and explore your Portuguese heritage. How has this cultural diversity influenced your music, and what message do you aim to convey with it?

C’est Karma: „I don’t think there is a particular message I want to convey, it’s more of an artistic choice to me. I associate different emotions and vocabularies with each language which makes the writing process more interesting to me. I like to indulge in the complexity of the French vocabulary when I feel angry or sad. I chose Portuguese for a nostalgic and magical song that felt very personal and empowering. Writing “Maria João” (the song in Portuguese) was a very special and emotional experience though, it was the first time I wrote in my grandmother’s language and it definitely made me feel closer to my family. I will never forget seeing the tears in my grandaunt’s eyes when I first played the song to them.“

Avant-garde elements play a significant role in your music. What does avant-garde mean to you, and how do you strive to incorporate it into your art?

C’est Karma: „To me avant-garde is unapologetic art, it’s art that doesn’t justify itself in any way. It’s there to exist and make an imprint on the world, free of any preconceptions. For me personally this
means, experimenting with sounds and words, seeing where I can push my music. Even though I really enjoy this practice, I, however don’t always strive to create something fully new or innovative, especially over the last few years and throughout the album-writing process I have learned to appreciate the craft of making accessible pop music and I believe that both ways of working have an important place in all art spheres. I love to work with both, whether it is by incorporating more left field sounds in conventional pop songs, disrupting pop sounds as a whole or trying to reconcile both worlds in one.“

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