Charlie Garrett, the mind behind Houston in the Blind, faced a long period of doubt about creating another record due to life's challenges like relocations, failed recordings, depression, and self-doubt. Despite this, his new album, “Hide the Glow,” reflects his resilience and the rising success of his musical projects.
Houston in the Blind emerged in 2014 in Atlanta with their successful debut album, “Limbs,” leading to national recognition. Garrett's relocation to Los Angeles was the catalyst for the breakup of the band, influencing Garrett's creative journey significantly, as it came to an abrupt hiatus that lasted for years… till now.
“Hide the Glow” has arrived, bringing Houston in the Blind back with it. Within this album lies the reflection of Garrett's struggles and evolution as both a man and a musician. Through this latest release, HITB delves into the themes of discovering beauty amidst challenges, and the underestimated strength found in vulnerability, honesty, and perseverance. As Garrett reminisces on the album's creation and his return to his origins in Georgia, “Hide the Glow” symbolizes a moment of optimism and rejuvenation for his future pursuits. The latest single, "On a Wire," perfectly embodies the essence of this journey.
TML: How did it feel to create "Hide The Glow" after such a long break?
HOUSTON IN THE BLIND: Well, it was never the plan to have so much time between records. Life just kind of happened. I actually recorded 3 tracks on the record in 2016, not long after relocating to Los Angeles. At the time I really didn't have the financial or mental means of finishing a full album. I spent the next few years writing, playing shows, and making tons of home demos that I contemplated releasing. In 2019 we relocated to Connecticut, not far from New York City. The goal was to finish the album after we got settled in, but then the pandemic happened. After a while, I honestly started to wonder if maybe it just wasn't meant to be. When we moved back to Athens I started reaching out to old bandmates and friends to gauge interest in helping me finish up the project. By the time we did finish recording, it was a bit strange to look back at all of the time that had passed and see how those life experiences made their way into every aspect of the record. It was also bittersweet, I didn't want to stop recording. That's probably because of a fear of not knowing when it would happen again!
TML: Can you share a specific moment or experience that influenced the direction and themes of your latest album?
HITB: Yeah. So, shortly after moving to Los Angeles, I had a complete mental collapse. My band had just released our debut album and we had some momentum going, then I moved and the whole thing evaporated. It was awful timing. I really tried hard to keep pushing on, but I missed my bandmates, they were my friends. Every show I played in LA was me having to hire out musicians and it never really felt right. I met some great people through that process, but it was never comfortable. Not long after my recording sessions with Gus Seyyfert, I just sort of fell apart, and it took a really long time to try and put myself back together. As time passed I would get out and play shows when I could. Writing became a challenge because I was too low to produce anything that didn't feel self-indulgent. At one point I just stopped playing. I tried to find anything to take its place. That's how I ended up with a crazy-ass Australian Cattle Dog! I always made my way back to creating though, it just wouldn't let me go. The heaviness from that period is all over the record.
TML: How did the challenges you faced, such as depression and self-doubt, shape the sound and lyrics?
HITB: Sonically, I'm sure those themes made their way in subconsciously, but it wasn’t something we discussed or tried to make happen. Lyrically it was difficult. Most of the songs I brought to Kris Sampson (producer) went through many revisions for the lyrics. Originally I was trying to hide my feelings or at least mask them. On multiple occasions, he would ask me, "What's this song about, it doesn't make sense," I would explain, and every time he'd look at me and say, "Then write about that, and stop trying hide it." But again, it's a fine line because I don't want my lyrics to be overly self-involved. At the same time, I need to connect with the songs, or else it doesn't feel authentic. If I lose that, then there's no point in doing this for me. It's a tricky dance.
TML: What was the most rewarding aspect of working on this album, and how does it differ from your previous work with Houston in the Blind?
HITB: Getting to work with so many incredible musicians was a highlight. Starting the record in LA with Gus Seyyfert, Josh Adams, and Bedouine was a real treat. They were all so kind and such pleasure to work with. The sessions in Atlanta were just as special, I got to work with Darren Dodd, Sven Pipien, Wesley Flowers, Gas Hound, and several other killer musicians. Kris Sampson, who produced the Atlanta sessions, really pulled some things out of me that I didn't know I was capable of. Working with him was really rewarding. At the same time, “Limbs” was an incredible experience filled with great musicians and friends. The process of making the two records was very different, but I'm extremely proud of both.
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TML: In what ways do you feel you have evolved as an artist since "Limbs," and how does that growth manifest in "Hide The Glow"?
HITB: There have been a lot of life challenges since Limbs. I think making it through those difficult times and trying to process them has caused me to evolve on a personal level which affects what I create. I think I've become less guarded about the music I make. Sometimes it's hard to let go, but if you're surrounding yourself with people you respect and trust, you should be open to ideas that aren't your own.
TML: Could you discuss the significance of the album title "Hide The Glow" and what it represents in the context of your musical journey?
HITB: It comes from a Dinah Washington song called This Bitter Earth. The original is beautiful, but at some point, a mashup was released of her vocal on top of the Max Richters composition, On The Nature of Daylight, and it's completely devastating. I read that Robbie Robertson had some involvement in combining the two songs, which made me want to check it out. I turned it on during a walk and was immediately brought to tears. In the song there's a line where she sings "And if my life is like the dust that hides the glow of a rose, what good am I?" That line hit a nerve for me. It just summed up so much of life. All of the struggles with mental health, constantly staring into the past, second-guessing everything, all of those things had plagued me for years. Moving forward and getting help takes a lot of resiliency and vulnerability, but it's worth it if you can find some peace or unlock a way to access a better version yourself. The record is mostly about those life struggles, so for me, it felt like the perfect title.
TML: How did the disintegration of your bandmates impact the creation of this album, and how did you navigate this challenging period creatively?
HITB: I've always written by myself. So, when I moved away, it wasn't like I lost my writing partner. However, the chemistry we possessed onstage was undeniable. When you no longer have that comfort level, it's scary. When you add the friendship piece and the fact that I left when everything was taking off, It was really hard to deal with for years. For the album, I think it affected the whole process from beginning to end. Songs, lyrics, life experiences, it's all connected. That being said, having Darren play drums on the majority of Hide The Glow was very cathartic. Making music with him is special.
TML: Do you wish things had worked out differently there or has it all worked out for the best?
HITB: It's taken time, but I'm at peace with it. I've spent so much time looking back and it's exhausting. All I've got is in front of me.
TML: Can you elaborate on your songwriting process for this album and how you translated your personal experiences into the music and lyrics? Would you say it was cathartic or difficult?
HITB: Oh man, it's definitely both. Putting yourself out there and being vulnerable in your songwriting is tough. The last thing you want to sound like is a victim. I'm not a special case. Depression, sadness, and anxiety run rampant among people. Just living can be super fucking difficult at times. I get it, I've dealt with it, but so have tons of others. It just happens that Writing songs is just an outlet for me. Like I said earlier, most of these songs had very vague lyrics in the beginning because I wasn't comfortable opening myself up for consumption. But, it's authentic, and at the end of the day, if I hadn't allowed myself to be vulnerable in my writing, the record wouldn't be very good.
TML: Looking ahead, what are your aspirations for Houston in the Blind’s future, and how do you envision your musical career progressing beyond the release of "Hide The Glow"?
HITB: We'll see I guess. I hope this is the beginning and there's more to come. I've got plenty of songs and would love to start another record sooner rather than later. The band sounds killer, we want to get out and tour if it makes sense. Hopefully, this is the start of a long journey.
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