For the last thirteen years, elusive Los Angeles garage-rocker Charles Moothart (CFM) has been a constant presence on the touring circuit, contributing his multifaceted talents to Ty Segall’s various live projects. In addition to his extensive touring commitments, he has left his indelible mark by crafting records and embarking on tours with renowned bands such as Fuzz and Goggs. With his forthcoming album, Black Holes Don’t Choke and the subtle shift in nomenclature, Charles Moothart embarks upon a promising new chapter, heralding an exciting era of artistic exploration in his world of “apocalyptic pop.”
Discussing the track’s meaning and origins, Moothart said, “I first started writing Little Egg shortly after the 2016 US presidential election. With the growing representation of ‘strong man’ authoritarian leadership around the globe, I felt a combination of disgust and amusement about how fragile and small these people really are. So this song is a commentary on the direction of the world, misplaced trust, manipulative authority figures, and the danger of giving thugs the keys to the castle. The opening line paints a scene out of an old school gangster film. You have the future running to the past to warn of the coming destruction of natural resources, and you have money gunning at its back to stop the message from being delivered. And the money is the one ashing its cigar out of the Cadillac on this con job stakeout. “
Check out “Little Egg” below:
Announced at the beginning of December, Moothart’s upcoming LP Black Holes Don’t Choke comes out March 8th 2024 via In The Red Records. The production of Black Holes Don’t Choke marks yet another chapter in Charles Moothart’s artistic evolution. Driven by an ardent affection for classic hip-hop and a profound aspiration to enrich his creative lexicon, Moothart has dedicated recent years to delving into the intricate realms of sampling and sequencing. In tandem with this exploration, he has been meticulously refining his engineering and mixing skills through personal endeavors and fruitful collaborations with fellow artists in various studios. This amalgamation of elements has sculpted a fresh, transformative milieu, wherein Moothart’s songwriting finds the fertile ground to flourish anew.
Black Holes Don’t Choke embraces the elements and sounds of the present without glamorizing any tense – past, present, or future. It conveys a feeling of chaotic love and empowerment within a time of existential turmoil – aiming to lift up what positives exist in a world riddled with toxicity and complexity.
Post-Punk.com caught up with Mootheart to discuss the track’s origins, what it means to him now, and what’s coming up for him.
“Little Egg” sees you go acoustic, albeit briefly, which is a bit unique for your catalogue. What led to that decision?
It’s true that only single acoustic and single vocal is a pretty rare production choice with my records to date. I have gotten more confident as a singer, and I have enjoyed hearing myself sing out front of my music much more than in the past. As far as Little Egg, it served the rest of the song, and also the message of the lyrics. It sets up a personal moment of reflection. It’s like a deep breath before the onslaught.
You spoke a little bit about how this song was influenced by the 2016 presidential election. Have you felt like the track’s meaning has evolved in the time since it was originally conceived?
Yes the meaning has evolved in some ways. I mean the basic principle and the basic fears expressed are still just as relevant today as they were all those years ago. So, in that way, it continued to feel more pertinent to record and release. But yeah I mean it went from being a vengeful song that was about destroying callous authoritarian figures, then it was kind of like a playful tune for a moment, but ultimately I wanted to really hone in on the foreboding danger of the steps we are taking. So it landed in a space both visceral and anthemic. It really took on the characteristics of the album’s spirit I am referring to as apocalyptic pop. It’s catchy but it’s raw. These aren’t passive songs about a completely fictional time and place. These are real feelings about the world I see outside my window, or the things I see as immediately possible (both positive and negative). I feel like the second verse really encapsulates the spectrum of these feelings.
You’re playing a host of tour dates coming up this spring—what can folks expect from a CharlesMoothartlive performance?
I am really excited about the live band right now. I have some great musicians playing with me who also happen to be my really good friends. The set is mostly comprised of songs off Black Holes Don’t Choke at the moment, but we are working to incorporate some other material from my other albums. There are spacious moments, as well as chaotic and more ripping moments. In this time of my creative life, I am trying to lean less on sheer power and chaos, but that is an innate part of my spirit when it comes to playing the guitar. So the energy of the band represents the recorded music in a different way that creates a dynamic live experience. I am really looking forward to see how we evolve over the course of these shows.
Preorder Black Holes Don’t Choke here”
In The Red | Levitation
Charles Moothart Tour Dates
- 03/15 – Pappy and Harriet’s – Pioneertown, CA (LP RELEASE SHOW)
- 04/18 – Soda Bar – San Diego, CA
- 04/20 – Zebulon – Los Angeles, CA
- 04/24 – Stork Club – Oakland, CA
- 04/26 – Star Theater – Portland, OR
- 04/27 – Make Shift Art Space – Bellingham, WA
- 04/29 – Sunset Tavern – Seattle, WA
- 05/1 – Starlet Room – Sacramento, CA
- 05/2 – Crepe Place – Santa Cruz, CA
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