Rosetta West’s latest release, “Circle of Doubt,” blends mysticism, blues, and spiritual struggle—launched on Beltane to mark rebirth. We spoke about inspiration, independence, and what might come next.
1.
“Circle of Doubt” was released on Beltane, a significant Celtic holy day.
What’s the connection between the song and that specific date?
Beltane is a celebration of Spring and the return of life. The narrator in
“Circle of Doubt” has been severely damaged in some kind of spiritual battle
but has not given up hope or the will to live and is trying desperately to come
back…trying to escape from the circle of doubt and return to life.
2. The track blends hypnotic blues with psychedelic textures and spiritual
themes. Can you walk us through the creative process behind it?
It is an old song that I had recorded previously, in a different stage of life
when I was in a different state of mind for a variety of reasons. Going back to
it, I found it fairly easy to replicate the main blues riff, but the original
atmospheric soloing was very “out there.” I wanted to duplicate it, and
struggled very hard to get back naturally into the mindset that would create
such strange musical patterns. It was a challenge.
3. The lyrics suggest a desperate attempt to break free from an epic
internal or spiritual battle. Is this drawn from personal experience or more of
a symbolic narrative?
It’s very very personal. What’s strange is that it was written during a time of
my life that I don’t usually associate with deep crisis. It was a time of
general happiness. I must have been having a flashback - or a flash-forward.
4. There’s a strong contrast between the heavy, repetitive riff and the
lighter, almost ethereal soloing. How did you approach balancing those musical
elements?
Well, musically, they seem to love each other. But in terms of recording, it’s
important to have separation so that you can appreciate the contrast.
5. Mysticism and spirituality appear frequently in your lyrics. Where do
those influences come from, and how do they shape your songwriting?
I’ve been a mystic all my life and I am always hoping to reach like-minded
people and hopefully help them by sharing my experiences. My target audience is
very small, I guess, based on what I’m seeing of the world.
6. Your music often blends blues rock with world folk and psychedelia. How
did that fusion evolve, and what artists or traditions have inspired it?
I have loved all kinds of music as far back as I can remember, but I came to
love rock the most, and I think Led Zeppelin was key in showing that you could
cook up amazing rock and roll with basically anything thrown into the pot. As
long as the recipe was right.
7. Jason X has been your co-producer and engineer since Labyrinth — how has
your sound developed with him behind the board?
For several releases now, I have recorded at Jay’s home studio - Maple Park
Studios. I felt comfortable working with him and that comfort allowed me to
express myself without being the least bit self-conscious. That’s so important.
We may not work together again, which is too bad.
8. Nathan Q. Scratch refuses to be photographed — is that part of a larger
artistic philosophy, or just a personal choice?
I can’t talk about Nathan Q. Scratch too much. My stock line is that I value my
life too much, but there’s some truth to that.
9. “The God Who Made Me Cry,” the bonus track, suggests a kind of spiritual
rebellion or confrontation. What inspired that piece?
No matter how much you naturally evolve - or how hard you try to break away -
from the worldview that you were given as a child, it sticks with you.
Eventually you have to try to kill it if you want to escape from it.
10. You’ve remained fiercely independent throughout your career, with only a
brief detour via Alive Records. What has independence meant for you as a band?
It probably kept us alive and together. Who could survive celebrity these days?
11. Your discography spans a wide range and includes many “rare treasures.”
For new listeners, which releases do you recommend they start with?
It depends on your “bootleg ears.” By that I mean this - some of my favorite
recordings of all times are audience recordings from many years ago, of great
bands caught in a magic moment. I never minded the lack of squeaky clean
fidelity, I just reveled in the magic. If you’re okay with that too, go back to
the beginning - the self-titled debut, then Crusade, and others.
12. Finally, what’s next for Rosetta West — new music, live performances, or
other creative projects?
I don’t know. It’s a time of great change. All the best my friends.
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