Tim Eveleigh builds this LP around reassurance—an antidote to uncertainty, financial anxiety, and fragile mental health. Through fearless studio experiments and deep collaboration, the record feels like both a message and a lifeline.
1. This LP centers around the idea of “reassurance.” Why did that theme feel urgent to you now, and how does it guide your writing even beyond this album?
I try to have the word ‘reassurance’ in the front of my mind whenever I am writing or recording. I think we could all do with some reassurance right now!
I am particularly concerned with my own – and other peoples’ – mental health and I think that reassurance is a big part of solving potential problems that it can create. In particular I think reassurance can help with worries about financial issues – I think it is easy to underestimate how much they are affecting oneself.
2. You worked closely with producer and multi-instrumentalist Andy Thornton, longtime collaborator Tim Eveleigh, and vocalist Maria Levesley. How did those relationships begin, and in what ways did their contributions shape the identity of the record?
I’ve been a fan of Andy Thornton for years. It was both difficult to believe and simultaneously an absolute pleasure to work with him to complete this (and other) recordings.
I *am* Tim Eveleigh so I’ve been collaborating with myself for the whole of my life!
Maria is a friend and extraordinary talented singer and it was a very easy decision to ask her to help to make this record better than it (hopefully already) was.
3. You’ve mentioned a growing confidence in the studio. How did that evolution influence the sound of this album compared to your earlier work, and what does that confidence unlock creatively for you?
I have been worried about both my singing voice and my ideas about what arrangements might or might not work in the recording studio for years but more recently have become significantly more confident about both of these aspects of recording.
This means that I feel free to experiment and also that I have a greater belief that I can arrange instruments so that they accurately reflect what I can hear in my imagination.
4. Tracks like “Surfeit” and “Enough” explore new territory—spoken-word textures, choirs, horns, and unexpected arrangements. What stories or moments pushed you toward those experiments, and what do these songs reveal about you that past releases didn’t?
I hope that the songs will reveal more about me personally – how I think about and see the world.
The horn arrangements (and performances) during “Trespass” and “Flooded” are by the ridiculously talented Sam Gee. I am extremely fortunate to know Sam and to have his help.
The spoken word sections of “Enough” seemed to come naturally to me and I still enjoy listening to the song myself so I hope that this means that it is also enjoyable for others.
The choir section towards the end of “Rage In The Darkness” is an idea that I have had in my head for sometime (although I am aware that it is not entirely original) and also offered the opportunity to include more people in the recording process – something that I always enjoy.
5. The album was recorded “rhythm-up” at Churchgate Heights, Andy’s personal studio. How does starting with cajon change your approach to building a song, and what kind of atmosphere or freedom did that space give you?
I think that ‘rhythm-up’ recording (this wasn’t strictly that – but it was close) means that the starting point is an almost empty page.
I hope that this increases the space for additional instruments and vocals to fit into a song and encourages me to include only what is necessary for the song to feel complete.
6. The press reaction has already delivered lines like “his new LP is a wonder.” When you hear something like “his new LP is a wonder,” or even the bold claim “this new LP is a wonder,” what does it mean to you personally after this journey, and how do you hope listeners will feel when they press play?
I am overwhelmed by this type of response and overjoyed that someone believes this enough to publish it in a public place. It definitely helps me to believe that the time that it has taken to put these recordings together has been worthwhile.
I hope that listeners will feel free to respond in whatever way they would like to and feel no pressure the have any particular response. They might like it – they might not – and either is OK.
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