A true drifter, Tim Guy has always enjoyed writing on the run. His previous two albums were written during moves to Melbourne (2004’s Blazey) and then Auckland (2007’s Hummabyes), and established him as a talented songwriter with a slanted and romantic perspective. As if he could only develop further by moving farther, a shift to Barcelona for five months remarkably inspired an improvement in his writing. Deep and dreamy, the songs from this period make up the bulk of Big World, which was recorded when Tim returned to Auckland and co-produced the album at home throughout 2009 with his then-housemate Jeremy Toy (Opensouls) on bass, keys, and additional guitars. Mixed by Jol Mulholland (the Checks, Motocade) and mastered by Dave Cooley (the Polyphonic Spree, Serge Gainsbourg), Big World’s foundation is solid: drums (Julien Dyne) and bass glow in the dusk with a countrified-R&B feel like Rumours-era Fleetwood Mac or Big Pink Band, a bliss-bath of woozy Wurlitzers and aqueous Rhodes conjure silvery nights and blue mornings, and guitars like satellites dart across darkling skies.

These primary parts give Big World the satisfyingly thick texture of classic rock, and are what’s most noticeable and familiar about the album’s sleek surfaces. But they don’t wholly account for the music’s deepness. Emotional complexity occurs where classic poptimistic weft is warped with distantly murmuring synth-storms and feedback-clouds that evoke an individual trying to measure his own (in-)significance. These moments, such as the stoic refrain of “holding on… holding on,” amid washes of dissonant feedback and cascading glockenspiel in ‘70 Angels’, hint at a swamping randomness in the world, but their musical expression is extremely controlled: adult composure never gives way to despairing emotionalism, and the balance is bewitching.

But for all its instinctual (and never intellectual) foraging for answers, Big World is an exquisitely tuneful pop album that simply urges singing-along to. With backing vocals by Ben King (Goldenhorse), the relaxed groove and four playful key changes of ‘Love Pie’ recall Tim’s own recent contribution of ‘Love Turns Wild’ to the Motown-inspired Open Souls record (Standing in the Rain), and in terms of heart-swelling excitement, the memory-rush of ‘Rhythm of the River’ is perhaps surpassed only by the whirling heights that ‘Beatle’ reaches.

Musically luscious and lyrically illuminating, ‘Beatle’ defines the artistic growth necessary to making this, Tim’s third and best album. Instead of being a worshipful hat-tip to the Fab Four, it is a sobering reproof to the idleness of too much dreaming, which only leaves one “stuck in the ground.” The seriousness of this challenge to shape up is illustrated by violins that elevate and redouble the wake-up call: “You could live your life a Beatle… walk in somebody’s footsteps; [but] it’s dangerous to.” Taken as a self-reproach to find his own voice, it’s remarkable that Tim achieves his aim by the first gorgeous chorus. With a sharper sense of identity, he gains the confidence to make an album that should surprise anyone paying attention. It’s also a way of looking at and moving on from the past, which explains why, despite its childlike openness and interest in the world, this is not a nostalgic album. Why go backwards when, as Tim says himself, “It just gets better… It’s coming up”?

Cater for Lovers is the second single off Tim Guy’s new album ‘Hummabyes’ and features the heavenly backing vocals of Anika Moa and Anna Coddington.

This is a beautiful video built around traditional non-digital special effects of scale and perspective.

It is the story of a shy girl and an artistic man who connect through her doll’s house which they are then transported into. Inside the doll’s house they travel through four different time periods: Edwardian, ’50s, ’70s and present day and explore how their relationship could have been.

The video is reminiscent of the work of the French film director Michel Gondry (Science of Sleep) in how turns its back on high-tech effects for a more playful low-fi feel which perfectly complements Tim’s music.

This NZ on Air funded clip is directed by James Solomon stars Leisha Ward-Knox and Tim Guy, and was shot by Richard Harling with production design by Shayne
Radford and Leah Morgan and post-production by Nigel Mortimer.

Tim Guy comes forth with what surely must be the lightest gentle ode to the sound of the old Pacific. ‘Summer Breeze’ is the latest offering from Tim’s second album, the self-produced ‘Hummabyes’, and is a surefire antidote to the winter blues. The track, rolled along by ukelele, also features harmonica, slide guitar and delightful harmony vocals from Anika Moa and Anna Coddington.

This video was shot by award winning documentary maker Briar March at Bethels Beach and directed by Monkey Records label manager Nigel Braddock making his directorial debut.

Hummabyes is Tim’s second album and is a refreshing set of whimsical alt. country flavoured indie-pop songs chock full of charmingly hummable tunes. He recorded it at home with his flatmates, who just happen to be Anika Moa (bass, bvs) and Anna Coddington (drums, bvs), both acclaimed singer/songwriters in their own right.

As well as Anna and Anika, the Hummabyes album features special guest appearances from a few of Tim’s mates, all NZ music luminaries, including Ed Cake, Jeremy Toy, Age Pryor, Paul McLaney and Steve Abel. Tim recorded and produced the album himself on an eight track and it was mixed by Ed Cake at Platform studios and mastered by Chris Chetland at Kog in Auckland.

Originally from Melbourne, Tim has adopted Auckland as his new home. Back in 2002 he met award winning singer/songwriter Bic Runga backstage after one of her gigs and gave her a demo tape of a few of his songs. Bic liked them so much she offered to produce his album and she ended up playing drums and guitar and lending her voice to the material as well. The resulting critically acclaimed album ‘Blazey’ was released in 2004 on Bic’s label ‘Nu Shoo Records’.

Tim played support for Bic on her Acoustic Churches tour that year, performing 25 shows to over 15,000 people, and since then he has been in constant demand touring with the likes of Anika Moa, Miriam Clancy, Paul McLaney, Age Pryor, Steve Abel and Tommy as well as undertaking his own 33 date solo tour in 2006.

Reviews

“This gentle album is so light it makes the Bats sound like Thin Lizzy.
Auckland-based singer-songwriter Guy has stripped his music back to airy arrangments for guitar and bass (with ukulele, slide, harmonica and triangle where required) but the whole thing has a summershine spaciousness and the smart production lets these whimsical (but never twee) songs breathe even more gently.
Beautiful backing vocals by Anika Moa and Anna Coddington, a few classy but discreet guests, and who knew the Tokey Tones would ever have such a profound influence?
Soft pop which just charms like crazy — right up until the final track which is a funny and wheezy singalong for drunken uncles at a wedding.” Graham Reid, Elsewhere

“Transplanted Australian singer-songwriter Tim Guy makes his home in Auckland these days. And what a home it is. Among his flatmates are Anika Moa and Anna Coddington, both of whom form Tim’s band The Tutaes with Anika playing bass and Anna handling the drumming duties. Hummabyes is an unassuming little pop gem. The ten tracks were recorded on Tim’s rickety reel-to-reel tape recorder with plenty of lo-fi tape hiss in evidence. But the cosy homemade vibes shines through in songs like Protection, Love For Sale and Stephen. Anika and Anna chirp away in the background while Tim provides jangly guitar and a warm, hushed vocal. Guest musicians drop by around for a wee chat. That’s Ed Cake playing and singing on Protection, Jeremy Toy chiming in on Make Down and Age Pryor’s ukulele on the gentle Summer Breeze. Pryor, Paul McLaney and Steve Abel join in for a drunken sing along on the closing track, Secrets and Golden. This is Guy’s second album; the first was released on Bic Runga’s Nu Shoo label in 2004. It sounds like Guy has insinuated himself nicely into the Auckland musical scene. This album isn’t going to conquer the world but that’s not the point. It’s the sound of a handful of mates getting together to make some music. Feel free to join in.”  **** (four stars) Marty Duda, Real Groove

“… if Tim Guy were to sing these songs to me as we sailed our rowboat into the lazy horizon, I’d sure be perfectly happy. It’d be ok, because his bandmates Anna Coddington and Anika Moa would be there singing the sweetest harmonies this side of the Tasman, and tastefully augmenting Tim’s guitar work with their bass/drums combo. I guess my point is, this is some hardcore sleepily romantic music. It all sounds effortless and the songs roll along like some kind of blissed out Sunday afternoon.“  Matt Crawley, Eavesdrop

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