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Hi Tim and welcome back to Vents! It’s been a few months since we last spoke. How has your summer been?
A busy summer. There has been also summer traveling and I’ve been writing and drafting several new songs for future studio dates. I’m ready for Fall.
Congratulations on the new release! Tim Hort (2) feels like a bold departure from your darker songwriting style. What inspired you to create this alter-ego collection of more upbeat tracks?
I’ve had interest in releasing more of a “pop-rock “ themed album for some time. Hooks up-front. It’s a different spin and an alter-ego in melody and production, certainly, but the core of the material shares a common denominator with most of my overall songwriting, especially lyrically. It’s in there.
You’ve been compared to bands like Push Puppets, Spoon, and Guided by Voices. How do you see your music fitting into that lineage of retro pop and rock?
The published reviews I read thus far have a wide range of comparisons. Wow. I enjoy reading those opinions.
“Heartbreaks and Slamming Doors” kicks off the album with a bang. Can you tell us about the story behind this track and why you chose it as the opener?
I like that the vocal starts early with this opening song, and it leads off with some edge and sarcasm, “I’m not waiting on a thing. I don’t bleed unless it’s showing.”
“Jan of Arc” is another title that stands out on the album. Is there a historical or metaphorical narrative you were trying to explore with that song?
It seemed like a fitting title. It’s a power-pop track. I am not sure where that song title came from or why.
The Radio Hour has a knack for blending catchy hooks with introspective lyrics. How did you balance these elements on this new release? And which typically comes first, the melody or the lyric?
Generally, the melodies come on their own and sometimes there are partial lyrics that express a feeling or situation. Then I go back and craft out something more cohesive using song structure and more lyrics. The hook lines on ‘Tim Hort (2)’ and the lyrics are comfortable together for the most part.
There’s a certain optimism in tracks like “Friday Night” and “Sing.” Was it a conscious decision to infuse this album with a brighter, more positive energy?
Those tracks do have a brighter sense, and that is mostly due to the way the song was produced and the instrumentation.
You’ve mentioned before that your music is a reflection of your personal experiences. What personal themes or events influenced this new album?
There is still some familiar angst or introversion carried in the material but it’s packaged a bit differently than with other projects. Most of this is upbeat. I wanted hooks to be right up-front with this album.
“Miserable Coping” and “Not Ready” suggest there’s still some introspective, emotional weight on this release. How do you see these songs fitting into the overall narrative of the record?
Those are great examples and a great observation. They do fit in with the overall narrative, no question.
Can you talk about the significance of the song “Granduncle”?
That song, with its piano at the core, is an unexpected centerpiece for the album. It is a pop melody line but it carries accusation and adds suspicions in the lyrics.
The production on Tim Hort (2) feels very tight and cohesive. What was the recording process like for this album compared to your previous releases? Were these songs written/recorded after your last release or was there any overlap between the two albums?
Thank you. I appreciate the good words. There is a cohesion between the individual tracks that collectively, create a unique feel for album as a whole – especially given that the album weighs in at only about 28 minutes. The songs were first written at varying periods.
Much of the end credit goes to Edward Wisman for well-crafted editing and engineering. Doug McBride at Gravity in Chicago did great mastering of the tracks, which was essential to the overall vibe and sound. Overall, I still enjoy best when albums represent, or attempt to represent, a message or mood “as a whole,” as opposed to a random collection of singles. There is always room for improvement on my end.
What was the most challenging song to write or record for this new album, and why?
I can’t say that any single track from ‘Tim Hort (2)’ stand out as being any more challenging to write. They are pretty straightforward, with some nice catchy lines and they composed themselves with ease to some degree. They are fun to add to a live set at a club too. Hopefully, that degree of ease gets communicated in the music.
Critics have praised your songwriting on this album as deserving international recognition. How does it feel to receive that kind of acknowledgment?
I appreciate the feedback. Humbling, really. I like that ‘Tim Hort (2)’ is getting solid college radio airplay. The album broke into the Top 100 College Radio Charts nationally last week (September 4, unweighted). I am currently a self-produced artist so it felt good accomplishing that. I am not represented by a label.
As a Chicago-based band, how has the city influenced your music and the creation of this new album?
There is some great, veteran sound engineering talent here in Chicago and some engineers have been a trusted fit with my production approaches. They have been instrumental and end up working hard on the tracks. Patient.
Other than that, I am sure the different independent radio stations and live music venues around Chicago, which still actively support original songwriting, have had a huge positive impact. The songs on “Tim Hort (2)” are very apt to be part of an energetic live set. I am currently reaching out to venues for regional touring dates and in-studio appearances.
What’s next for The Radio Hour after “Tim Hort (2)”? Are there any new directions you’re excited to explore in your future work?
I am already working with two recording studios in Chicago for the initial tracking for an evolving album. I am really pursuing new production styles that are very lush and sonically, a mature interplay of the instruments – no rushing. Moody. Many layers. Dreamy. I am very encouraged by the initial sessions.
