In a world where music is too often labeled by the media, few artists dare to take their own path. Kárin Tatoyan, an indefinable singer, is one of them.
Bringing together the elements of avant-garde, electronica, indie and middle eastern music, Tatoyan is a pioneer in the movement for musical experimentation.
Since the beginning of her music career in the early 2000’s, she has been acclaimed by various newspapers and magazines including the Los Angeles Times, LA Weekly, URB and FUTURE SOUNDS. Coachella Magazine recently named her as one of the artists to look out for this year.
Her band has an interesting live set-up; rather than the traditional four-man rock band including two guitars, a bass and drums, Tatoyan’s live shows incorporate cellos, synthesizers, guitars, keyboards, and two live drum sets. It is this set-up that helps her translate her songs onto the stage in a unique way.
Though Tatoyan’s songs are difficult to define, one may detect similarities between her and other artists at first. She uses very pop-oriented drum-machine beats, sometimes reminiscent of 1980’s electronica, combined with piano-heavy instrumentals over them. She also makes good use of her cello and guitar player with layered string sections and carefully-scattered guitar parts.
Some may be quick to compare her voice to that of Bjork, an experimental Icelandic singer. Tatoyan and Bjork have similar sounds to their voices, but when listening to Tatoyan’s entire body of work, one discovers that her voice changes regularly. One minute she is hitting high, shrill notes and the next minute she sings so softly that it could put you to sleep (in a good way).
In tracks like “I Will Inform You”, Tatoyan brings avant-garde ideas and melodies into a pop setting. She describes her music as “simple songs layered with complex parts that are reminiscent of Middle Eastern and occasionally experimental music.”
One will hear traces of various genres of music that are put in so briefly that the listener would barely notice them otherwise. A good example is the track “Well Beyond a Grave,” which starts out as an alternative pop song, but incorporates a classical-style cello and even a trumpet solo at the bridge. Through this technique, Tatoyan proves that she can write songs that are catchy but still intriguing to the average classical or jazz listener.
As far as her lyrical process goes, Tatoyan has a very interesting approach. She cites visual art as one of her biggest influences and often has a certain image in mind that she tries to create through tonality and lyrical content.
Because of this very unique writing process, Tatoyan’s music has a lot of diversity. Songs like “Well Beyond a Grave” and “The History of Stains” seem more radio-friendly, whereas “Radio Cures” and “Ver Cha Bess” sound more indie-influenced. This is another example of how her music sits on the fence of commercial and underground.
Tatoyan is an inspiration to underground artists trying to break through to the mainstream. She has found a place in music that others struggle for years to find. Her music pleases pop listeners as well as those more interested in their uncle’s Jazz-Polka Fusion band. She shows promise as an artist who will bring her best to the table and captivate everyone without ever compromising her sound.
Q. You lived in Indiana until you moved to Los Angeles in the fifth grade. How did that move change you?
A. I had a real childhood in Indiana . I grew up near the woods and spent my summers in Syria . There was a big difference in culture between Syria and Indiana . In Indiana I was the only Armenian girl at my school, and in Syria I was surrounded by other Syrian-Armenians. In fifth grade I suddenly came to a place with a lot of Armenian people. I related far more to Middle-Eastern Armenians. I was also intimidated by how mature everyone was; kids were smoking and drinking already.
Q. You were once titled “The Armenian Bjork” by The Armenian Reporter. What do you think of this title?
A. I don’t think about that title. Most people compare us because we are in the same genre and Bjork is the only well-known artist from that genre. My singing is influenced by Middle Eastern music, and for that reason, the tone of my voice may resemble Bjork occasionally.
Q. If there were any other era of music you could be a part of, what would it be and why?
A. I would go back to the early 90’s and do exactly what I’m doing now. I might also want to go back to the 30’s because playing live and connecting with the audience is very important to me, and artists did a lot more of that back then.
Q. Your music sounds like it would be great for a film score. Have you ever considered scoring a film yourself?
A. This summer I’m doing a soundtrack for a movie taking place in Jordan, a Middle Eastern country. I’m also taking a script called the “Human Emotional Process” and turning it into a musical.
