[sound bites]

Wilhelm in Wilmington:
Folk troubadour rolls through the Gypsy

By: Shea Carver

Folk has its roots at the heart of human essence. It’s the stories we hear as we walk through life at our own leisure, taking in the surroundings and meeting new people at every turn. Folk is awash in our collective standards of living—it’s what makes us progress. It’s what makes us relive and revolve into better people on a constant basis. Folk is like the anthropology of music, combining stories and souls, one note at a time.

Those who play it with the natural progression of a chameleon, like Bob Dylan or Joni Mitchell, know not only its far-reaching zenith of a message, they also understand its multitude of range—how it can perpetuate thought-provoking action with the right audience at bay. How it crosses paths, touching lives of so many, is quite indelibly part of its draw.

Chris Wilhelm plays with the same veracity as the ‘60s darlings we’ve come to cherish—the pioneers of putting creative writing to music; the founders who take everyday life and make it ours as a whole. Now a Boston resident, Wilhelm will be playing Wilmington’s very own Juggling Gypsy on June 26th at 11pm. While it may not be the Newport Folk Festival, it certainly will be as moving of a performance—just don’t expect to hear him go electric. Then again, he’s a musician with just as much charismatic flavor to step outside of his realm should the occasion call for it.
Here’s a few notes from the conversation we had last week.

e: What’s your first musical memory?
CW: The Beatles’ song “I Should Have Known Better.” It really hit me. Then I made my first guitar out of cardboard and markers.

e: How were you introduced to folk?
CW: Mark Kozelek from the Red House Painters then Bob Dylan, Simon and Garfunkel.

e: What makes the genre more appealing to you than any other genre?
CW: The lyrics, the honesty, the sound of the voice.

e: How does Boston affect your music? Good or bad...
CW: Well, I moved to Boston four years ago from upstate NY, and I think the city has a different song from the country. There are more things happening around you, so I think that affects my music.

e: Your combination of folk and moody rock is quite familiar. Why do you suspect that is? At times I want to draw comparisons to Nick Cave and Neutral Milk Honey, but it’s not because you sound alike as much as evoke the same feeling. Can you shed any insight?
CW: This Train’s Not Goin’ Slow was recorded live to analog tape. So it does have that raw folk rock feel.

e: Who are your musical heroes?
CW: A few years ago it was Bob Dylan, The Band, Paul Simon. They are just amazing songwriters/performers.
Now I would say Tom Waits, M. Ward, My Morning Jacket. Tom Waits just keeps getting better. He make the most unique, creative records I ever heard. And they are great.

e: What has been most rewarding in recording This Train’s Not Goin’ Slow?
CW: I can start thinking about the next record.

e: What about the most challenging?
CW: I have always done home recordings in the past, so going into a professional studio was more challenging. Time is money in the studio; the pressure is on, but I think it made all the difference.

e: How would you compare playing in a subway to playing onstage in a bar or music venue? Similarities? Differences?
CW: In the subway you have more of a diverse audence. Bar or music venue you might get only people who go out to see music.

e: Share your innermost thoughts on how music helps you evolve into a better you—or a worse version of yourself, whichever you choose!
CW: There’s nothing better than writing a song or performing on stage. When I’m not doing either of those things I really feel like something is missing. So I guess it keeps me happy.