The bedroom recording project of WA songwriter Timothy Nelson is finally surfacing into the real world, with his debut EP ‘Amber Arcade’ dropping November 16th 2019. We first met Indoor Fins via 2018’s Drapht collaboration ‘The Come Down Was Real’, and this year’s follow up single ‘Summer They Say’, currently on high rotation on Triple J. However, Indoor Fins is not hip hop. The self described ‘super-pop’ project is an unabashedly bold statement from the multi-WAM award winning artist. Musically, it is a smattering of influences from classic 70’s prog rock to modern French electro pop. Lyrically however, as Nelson says, it comes from a much darker place.
“A few years back my old band, and my relationship at the time, both fell apart within about a month of each other. I was in a rut personally. Then, shortly after all that, someone in my family, very close to me, got seriously ill. It wasn’t the greatest time at all. I felt like I’d been on one kind of path from the moment I left high school, and suddenly found myself in a place where I wasn’t sure where I was heading at all. I did a bit of soul searching, there was a lot going on in my head I’d not addressed for a long time and I think it all just collided in one go. In the midst of all that, I did a tonne of writing. I was questioning so much about who I was, that I think I started digging a lot deeper lyrically. These four songs are like little vignettes into where my head was at.”
Around this time, Nelson spent his days holed up in his home studio, aka childhood bedroom: “I had my guitar, my computer, and a keyboard. I had all these sounds at my fingertips. I think musically, the direction it took, came from a feeling of, ‘Fuck it, do whatever feels right’, and also not wanting to be so down-in-the-dumps about everything. Music, to me, is always the antidote.”
First single ‘Here It Goes ‘ (out October 11th), is an epic journey through 70s psychadelic rock combined with French inspired electro pop, all in three and a half minutes. “I remember waking up and having the guitar riff in my head, but no idea where the song could go. Something didn’t feel right and I nearly abandoned it altogether, but this voice in my head was telling me to push through, and I spent all day just trying every possible idea that could make the song work. At some point I turned a corner and it all made sense. It was very much a journey writing it. That’s what I mean by ‘Put me on the road to rhythm and light’, you know? My subconscious was saying ‘pull yourself together, and get on with it.’