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Tim Hill, the singer-songwriter/multi-instrumentalist releases a new animated video for "Honey Tangerine," a story about two lovers stuck inside by the rain. His new album Giant is out February 10, 2023 on Innovative Leisure / Calico Discos.
Listening to Tim Hill’s new album, Giant—a rugged, tasteful batch of cowboy tunes and Americana ballads that feel forged out of the embers of a desert campfire—you might assume that he’s been working on a ranch his whole life. You’d be half right: Hill is indeed a rancher, working in the Orange County, California, area of Silverado, but he’s actually a relative novice when it comes to tasks like tending to horses and driving a tractor. He only just got the job since the pandemic started, inspired on something of a whim: “I always kind of thought I could work on a ranch,” Hill says. “So I just looked around for some jobs and they had an opening.”
Hill is based in Whittier, California, where he was born and raised, and music has always been his guiding force. The son of a music teacher, Hill grew up playing various instruments in a formal manner, but eventually carved a niche for himself in local punk bands, before finding himself as an in-demand touring musician for artists like Nick Waterhouse and the Allah-Las. When the Las—one of Los Angeles’s most beloved psych-rock bands—decided to start Calico Discos, their record label, they knew just the guy for its inaugural release: Hill’s solo debut, a 7-inch for the 2018 song “Paris, Texas,” introduced him as an alt-country act to be reckoned with—and his full-length debut, 2019’s Payador, was an underground hit, with copies of the sold-out first run having gone for as much as $100 on Discogs.
Payador was “a simple and honest attempt at a first record,” according to Hill, which was done entirely at home on a four-track. When the project was finished, the fact was made quite cosmically clear: “It couldn’t have been more than a few seconds after the last take, the last overdub, the last cassette, that smoke began to billow from behind the four-track recorder,” Hill explains. So for his sophomore album, he decided that maybe it was time to upgrade the approach a little bit. Taking a drive down the 605 to Long Beach, Hill set up shop at Jonny Bell’s Jazzcats Studio, where he played all of the instruments himself, with the exception of two outside players—one for pedal steel and one for violin.
The result is a record steeped in affection for artists like Randy Newman, Warren Zevon, and Neil Young, but reimagined through the lens of the modern cultural melting pot that Hill lives in. (“I feel like I'm always trying to just rewrite [Young’s] “Out on the Weekend” in some way or another,” says Hill, “just because I like that feel so much.”) The choice of covers on the album speaks multitudes: Giant features a heartbreaking take on Townes Van Zandt’s “No Place to Fall,” a festive, authentic take on José López Alavez’s “Canción Mixteca” (which was notably covered by Ry Cooder and Harry Dean Stanton in Paris, Texas), and two impressive takes on part of Johann Sebastian Bach’s “French Suites,” referred to by Hill as “French Sweet,” naturally. “My dad only listened to classical growing up,” Hill explains, “so it didn’t really mean anything to me then. But now I love it. I can listen to, like, Glenn Gould all day.”
But Hill’s original songs are the sturdy pickup-truck engine of Giant—songs like “Calico,” a dreamy ride into the center of the sun, and the opener, “The Clock’s Never Wrong,” a waltz that would get even the drunkest person at the bar to stand up and start dancing along: “I miss the good ole time when girls used to ask what car you drive,” Hill croons in that latter song, “and leave you with a hole in your heart.” On “Candlestick,” he takes his graceful chords and melody and applies them to a poem written by his friend, the artist Ry Welch. “It was just one of those things where I didn’t have to move any word around,” Hill notes. “I didn’t have to cut anything out. It just fit perfectly in that music.”
Of course, there’s also Giant’s title track, an operatic piano piece that presents a brief, episodic tale of the culture clash that occurs in so many forms in the U.S. these days. The song was inspired by the 1956 George Stevens film of the same name (itself adapted from Edna Ferber’s 1952 novel); Hill was enamored by the movie, and by James Dean’s performance in particular, in which he plays a ranch hand in Texas in the 1920s. “I really identify with that character now,” Hill explains.
Giant was the last movie Dean filmed before he died, and Hill has inherited a fitting ethos for what he’s trying to do with his album named after it—and with his whole career: “Like the string quartet on the deck of the Titanic,” he says, “I’d like to play something beautiful before the ship goes down.”
New Zealand's Arjuna Oakes and Serebii, a.k.a. Callum Mower release their Final Days EP.
Oakes and Mower, met while playing sold out shows together, but they knew then that it was just the beginning of something bigger. They were serving as hired guns in a popular surf rock band, touring their native Aotearoa New Zealand in mid-size venues, tearing it up, helping others realize their musical vision. That was great, but the friendship forged between the two of them in the process was the real bounty: “We got on like a house on fire,” says Mower. “And we’d end up sticking together through festivals or hanging out at parties.”
“Just like a brother,” Oakes jumps in.
Back in their base of Wellington, Oakes and Mower kept hanging out and playing together—except this time they were making music more like what was calling to them personally. When Oakes was working on his solo work—jazzy chill-hop with an alt-rock twist—he would call on Mower to pop in to help with some of his velvet-y production skills. And when Mower needed a killer voice or a compositional tweak on something he was working on—often psych-infused grooves—he had Oakes on speed-dial. It wasn’t long before they realized that they should be working together in earnest.
Something like if Portishead collaborated with Flying Lotus, 2021’s First Nights EP was an introduction to the duo as a singular act, and “Even When You’re Gone,” a funky chiller Oakes wrote while going through a tough breakup, quickly found its way onto endless streaming playlists looking to harness the vibe. The EP sounds like a million bucks, but was in fact largely recorded over several months in Mower’s bedroom, “with just an SM57 [mic] and no gear whatsoever,” laughs Oakes. “It’s quite nice recording over a longer period of time,” says Oakes, “because you can really mold the songs the way that you want to.”
They soon decided to keep the momentum going, creating a second EP, Final Days, designed to be “a sister record” for First Nights. This new one was put together in much the same way as the first: songwriting duties were shared between the two, with Oakes handling most of the singing and all of the keys and synths, and Mower leading the production duties and playing almost all the guitar and bass parts. (A few friends also helped with drums/percussion and trumpet parts.) By and large, it was recorded in Mower’s bedroom, his cat crawling on their shoulders throughout.
You can feel the push and pull of each personality on certain tracks, swirling together in a collage of various talents and sensibilities. On “Flavour,” a club-ready track that Oakes brought in, Mower’s Chic-ish guitar licks shimmy into the mix, and on “Tired Faces,” a track that Mower brought in, Oakes’ Thom Yorke–reminiscent pipes turn the song into a pure vapor—more a gas hovering in the landscape than a file on a computer. “We both grew up in thick, thick nature,” notes Mower. “I’m forever searching for ways to recreate what nature does.”
Like First Nights, Final Days was also similarly inspired by a form of grief. Rather than a breakup, Oakes was dealing with the impending loss of a beloved grandparent this time around, and was trying to process the experience through music. “I was losing my granddad to cancer, and I knew it was coming,” he explains. “So it’s a kind of a thing of letting go of people you love.”
Production wunderkind Jimmy Edgar (whose notable collaborators include Hudson Mohawke, Danny Brown, DAWN, and Vince Staples) has just shared “EVERYBODY,” another advance taste of his upcoming album LIQUIDS HEAVEN (out on November 11). “EVERYBODY features Zelooperz, who I met in Detroit while recording with Danny Brown,” explains Edgar. “10k.Caash hopped on the beat remotely. The track explores the sound of the full length album, which is all based on the idea of ‘liquid.’”
LIQUIDS HEAVEN is a psychedelic canvas of future R&B, euphoric bass, mutant tear-the-club-up rap, foundation-splintering noise, and gossamer soul, as previously previewed via a double drop of singles “SLIP N SLIDE” and “STATIC (FT BANSHEE).” The album is a starburst of avant-garde fusion, collecting a diverse cast of eccentric geniuses and re-configuring them into an anthology of nü musique concrete. But as with all his work, there is a deeper and subversive intent: LIQUIDS HEAVEN’s gestation spawned from Edgar’s explorations of “material” in the digital world, and is part of his broader ambition to change belief and intention in the digital realm – a pseudo-invisible way to summon novel realities by infusing his ultra-sleek aesthetic into transformative conceptual art. But just as importantly it bangs as hard as anything to ever bump from a subwoofer.
Hiroshima-born, Montreal-based singer-songwriter Jonah Yano shares his new single "leslianne." The track is his second offering from his forthcoming sophomore album Portrait of a Dog, which is entirely produced alongside BADBADNOTGOOD, out January 27th via Innovative Leisure. From the very start of its rapid run time of just under two minutes, "leslianne" lays out a spacious, intricate tapestry of keys and strings for Jonah's soft story of a girl finding her way home.
For the past month, Yano has been supporting Clairo for the last leg of her North American and the entirety of her European tour dates. Yano has two more dates opening for Clairo in London before he closes the live run with a headline show of his own at Servant Jazz Quarters in London this Wednesday.
portrait of a dog includes the previously-released singles "always", which arrived with a video shot on location in Five Islands, Nova Scotia, and "the speed of sound!," which is at the confluence of his love of folk and jazz music. The 12-track project is an exploration of themes present throughout most of Yano’s catalog – identity as a part of the Japanese-Canadian diaspora, contemplation of different family dynamics, and the intricacies of interpersonal relationships.
It’s a focused departure from Yano’s previous recordings – establishing a clear sonic identity throughout the album’s 12 songs to weave together two complementary narrative threads of a family homage and archive, and a deeply personal recollection of a fading relationship. Beyond the co-production of BADBADNOTGOOD, portrait of a dog features additional guest work from Slauson Malone, Sea Oleena, with string arrangements by Eliza Niemi, Leland Whitty, and Yano himself.
Arjuna Oakes & Serebii share another recording from their upcoming EP, "Guava", just as the fragrant pink fruit comes into season. Coming in short and sweet, "Guava" opens with an amorphous intro, with hints of harp sprinkled through, only to quickly turn towards a mandala of sound.
Acording to the duo - "Guava" was originally intended as an interlude track, but grew into an exploration of style and expanse, with elements of Classical, Alternative Electronic Music, House, and Film Scores.
The EP, Final Days, is due out on October 14, 2022.