The Inquisition: Bill Callahan

Bill Callahan has been making records since 1990, when he tended to lay his hands on whatever plastic utensil or out of tune furniture was nearby and released the discordant mess under the moniker Smog. His later career has been marked by the addition of wry, observational lyrics – delivered in crystal clear baritone – and a seeming sense of structure. Since 2007 he's been releasing under his own name at a rate of almost one album a year and his 15th LP Apocalypse is out now. We caught up with him for a wee blether.

Apocalypse, as an album title, sounds pretty foreboding. Is this title a comment on society as a whole, or does it refer to something more personal as suggested by One Fine Morning?
Apocalypse is a state of mind. It can have positive connotations. The definition based on scriptures has tainted it and made it something to be afraid of. It can mean a revelation, a lifting of a curtain, seeing something in a new light. It does not have to be scary.

It's difficult to tell if your new song America is meant to be hagiographic, or a deeply satirical sideswipe at the country in question. Our guess it that it appears to be both. Are we correct?
An uncritical biography of Scotland would be called haggisography. You can use that one in your act! It is not at all a sideswipe nor is it satirical. It's just straightforward, factual. Observational. It is supposed to be the story of songwriters as a kind of armed forces, and it's all wrapped up in a song that sounds like missiles and bombs.

The music and lyrics are given a lot of space to breathe throughout, and there are frequent references to the beauty of the landscape. Were these styles and themes chosen to match, or am I missing something?
I'm not recalling many references to the beauty of the landscape. But you've probably listened to the record more recently than I have. I wanted the record to breathe, to be like a body that was breathing and touching you. If you are over 18.

The notion of Smog conjures up notions of ethereal, suffocating forces, whereas Bill Callahan sounds like a guy trying to make sense of the world. Is this true?
I can see that. It is more about being a force for change or movement or understanding than just a filter or barometer like it was in the past.

What was the single most important factor in determining the transition from Smog to Bill?
I was tired of writing those letters on cover art. The "S" is OK, but the "mog" looks ugly together in a row like that. That is why I put parenthesis around it for awhile, because parentheses are graceful looking.

Smog releases were quite experimental and often dissonant, Bill's material seems much more focused. Is this true?
Early on I was involved with randomness, chaos. But I think it was focussed then, too. I don't think it's a matter of focus. It was just different way back when.

Do you feel estranged from your old persona in any way as a consequence, or are you two still pals?
I believe you become a new person over time, repeatedly. So the old records are as if made by several different people. I feel aligned to the past few records I've made, but not all of them since 1990. I don't care about the guy who made Wild Love. I don't want to hang out with him or even remember him or respect him. It's like taking a bus to get to work but taking the bus that takes you to your old job not your current job. Why would you do that?

Finally, are you looking forward to visiting and playing in Scotland?
I love Scotland. I have a Scottish tour manager so that I can bring a little bit of Scotland with me everywhere we play.