Tim Heidecker blends his singer-songwriter take on the world with his funny guy routine

As a fan of Tim Heidecker’s unique blend of comedy and music, I find his latest album, “Slipping Away,” to be a captivating reflection of his journey as a father, suburbanite, and artist. The raw vulnerability he showcases in his lyrics is a testament to his growth and evolution, proving that even the funniest among us have deep, emotional stories to share.

What’s Tim Heidecker all about, you ask? Even fans of his comedy might find it tough to tell. For the past two decades, this versatile entertainer has been the architect of his own amusement realm. He first gained attention as a co-creator of “Tim and Eric Awesome Show, Great Job!” on Adult Swim, where he’s known for creating humor by adopting various personas. Despite his daily life as a laid-back, well-read, baseball-loving suburban dad, Tim has built a career on constructing bizarre new realities that seldom reflect his own existence.

During a recent interview in his home recording studio nestled amidst the peaceful, forested hills of Glendale, this is the side of him that emerges – the one who retreats to compose songs that are deeply reflective rather than comical or episodes for his weekly call-in show “Office Hours.” As he dedicates time to release his new album, “Slipping Away,” on Friday, his true life becomes more apparent, despite penning a sophisticated blend of heartwarming folk tunes about fatherhood and tracks that portray chilling dystopian narratives of post-apocalyptic fear.

As the admirer, I’m captivated by the collaboration of Eliana Athayde on bass and vocals, Josh Adams on drums, Vic Berger on keys, and Connor “Catfish” Gallaher on guitar and pedal steel in Heidecker’s touring band. Together, they have crafted his most expansive album yet – “Slipping Away.” This album breathes life into succinct, evocative soundscapes that transition seamlessly from carefree road tunes to introspective, existential jams imbued with a surprising sense of optimism. I had the pleasure of chatting with Heidecker about his approach to his role as a singer-songwriter, and our discussion has been condensed for brevity and clarity.

In your comedy work, such as “Tim and Eric Awesome Show, Great Job!” and “Mister America,” crafting the universe or setting – the characters and storylines – plays a significant role. Could you elaborate on how your process of constructing a world in music differs from creating one in comedy?

In essence, the new music I’m creating feels like a distinct universe of its own, yet shares continuity with my previous work in terms of songwriting style, arrangements, and production. There’s a clear thread connecting one album to another, as themes remain similar, and many of the same musicians are involved. This consistent cast of collaborators includes notable figures such as Natalie Mering from Weyes Blood, Jonathan Rado, Kurt Vile, Mac DeMarco, and members of my current band. Their personalities are becoming more evident, and I hope fans are appreciating them too. My onstage persona is a refined version of myself, considering visual aspects like stage presence and how it translates to film or photos. However, this persona is slightly more grounded and authentic to who I truly am.

What did you aim to accomplish by giving viewers a backstage peek into the recording studio where “Wells Running Dry” video was filmed, and how you create music with your band in that album?

I’m drawn to understanding how things are made, and I find great satisfaction in watching the behind-the-scenes process. I could easily lose track of time while watching studio recordings. It’s not always captivating, and it can take a lot of patience to uncover something meaningful. However, in that specific video, I wanted to convey the camaraderie and love shared among us. People might have certain perceptions of me based on my projects or online persona, but through music, you get a glimpse of my friendly and approachable side. After all, I’ve been working with these people for so long that it suggests I must be easy to be around.

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What inspired the title of the album “Slipping Away?”

Title selections can be quite intriguing as a movie enthusiast who appreciates the subtle nuances in music. Often, records have titles that aren’t song titles themselves but rather lines from the songs they encompass. For instance, “Slipping Away” is a line within the track “Tripping.” To me, it carries two interpretations – on one hand, it symbolizes letting go, being free, losing oneself in the moment. On the other hand, it represents the sense of loss and disintegration, everything falling apart. I find it fascinating when titles hold different meanings on each side, like Side A and Side B of a record.

I too perceive a double significance in the album cover. It’s a snapshot of an unoccupied control room booth within the recording studio, which for me symbolizes an invitation – “please, come and take a seat to enjoy my music.” Conversely, it also suggests a sense of loneliness or emptiness, as if saying, “everyone has departed.

The album seems to consist of two distinct sections, each exploring the swift rise and fall of good fortune in life due to unforeseen circumstances or chaos. Was one segment of the songs written initially, followed by the rest? Could you tell me about the progression of the album’s narrative arc?

This album’s lyrics were clearly influenced by the pandemic, giving a glimpse of what could resemble scenes from a disaster film. There were instances in our lives where we found ourselves panic-buying toilet paper, making some of the songs quite literal and narrative-like, like short stories or character studies about people surviving in a world that had crumbled. However, I didn’t want the entire album to be burdened by this heaviness. All great concept albums have additional tracks because they aren’t musicals or rock operas.

In a more relaxed phrasing, the question could be: “You ended ‘Bells Are Ringing’ with a sweet touch, having your daughter Millie sing the finale. It felt like a refreshing break. Can you tell us how you arrived at that choice?

The reason I chose to include [the song] is because I felt it was overly somber. I have the power to decide what gets released; it doesn’t necessarily need to be created. It only exists because I choose to make it and express myself however I desire. To be honest, I felt a more profound conclusion was needed for the album. The lyrics conveyed that things are ending, falling apart, and everything eventually dies. I thought, ‘This isn’t particularly interesting or deep.’ So I added the line ““But underground, maybe there’s love growing, not a lot but it’s all we have. It might just be enough.”” as it was too personal for me to sing, perhaps because of its vulnerability. Initially, I heard Millie singing and thought it would be enjoyable to collaborate on this project. Honestly, there wasn’t much thought put into it, except when I added it, I worried it might not work out well. However, when I played it for friends, they assured me that it was endearing and adorable, trying to steer clear of the cringe factor, as we usually do.

Have you been making and recording your own music throughout, or did you begin doing so once you ventured into comedy?

From high school onwards, my passion for music has been a constant companion. As a child, I dreamt of playing music, but during my comedy peak with Eric [Wareheim] and the busy production of “Tim and Eric Awesome Show, Great Job!” and another TV series, I put it aside for quite some time. However, even in those hectic periods, there was always an element of music present, whether it was a guitar or keyboard nearby, composing tunes for our shows. But it wasn’t until the birth of my 11-year-old daughter and settling into my current home that I found subject matter I hadn’t had before – something genuine, not ironic or satirical, but rather personal experiences like becoming a father in the suburbs. This new phase offered an opportunity to connect with others who might share similar experiences.

Have you considered any ways you could combine the realm of comedy and music for a tour related to this album, or perhaps in the upcoming period?

In the shows I’ve done, opening for Waxahatchee among them, my natural instinct tends to lean towards humor. This will serve as a common theme throughout the performance. While some songs may not be humorous, I plan to keep things light before, during, and after the show. Some songs might even make you laugh! It’s a bit like the character work I do in stand-up comedy, yet when I’m onstage with my band, I can explore a wider range of humor, similar to how I behave on my podcast “Office Hours.” I take great care in creating a well-rounded show that is not only dynamic but also engaging, blending rock, sad, and funny elements. I don’t enjoy shows where the band just plays their songs and leaves; instead, I strive to make it an interactive, dynamic, humorous, yet moving experience for everyone attending.

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2024-10-17 13:35