Tim Riehm
Tim Riehm is a singer/songwriter/producer from South Carolina.
He released his debut EP Used to This in December. Produced by Riehm and Jason Lehning, the pop project is a collection of 5 songs: “Hey There, Liquor”, “It’s Not Me, It’s You”, “Expectations”, “My Life” and “Obey”.
“I’d describe “Used to This” as an introduction. It has singer-songwriter sensibilities, but it leans pop and hints at what’s to come in the future regarding my direction and sound,” expresses Riehm.
The Nashville-based artist collaborated with Dutch producers Arcanda and VMK on the record “These Walls” and his song “Expectations” was remixed by Italian producer Glaceo which reached over a million stream on Spotify.
With a distinctive musical signature, Tim Riehm is a name you want to remember.
Used to This is now available worldwide.
Art: Tim Riehm
Introduce yourself - what's your story?
I was born and raised in a small town of South Carolina called Easley. There definitely wasn’t a ton going on — especially in the arts — but I sang in my church choir until about third grade, when my musical interests started to become a bit more diverse. It wasn’t until high school that I started writing my own songs and playing guitar, but, as the valedictorian of my graduating class, music was never really presented as a viable option for a career. So, I left for Clemson University to get a degree in bioengineering. There, I was able to meet like-minded musicians and form a band that got to play a variety of small festivals, Greek functions, and other shows, but music still remained just a hobby — at least in my head, but not in my heart. My junior year, I got the chance to record an EP, but unfortunately, it was also the most work-heavy part of my schooling. I made sacrifices, and it ultimately resulted in the B I’d ever received. And, while that might not sound like a big deal, it actually answered the question of what I wanted to do with my life: If I was ready to sacrifice my GPA for my passion, I had to follow my heart. So, after I graduated from Clemson, I moved to Nashville and began immersing myself into the songwriting community through rounds, mixers, shows, coffee dates, anything to build relationships with people — people who turned into friends, colleagues, and partners. Since my move, I’ve released an EP of five songs, which tread the line of singer-songwriter and pop, and I’ve also had the pleasure of collaborating with multiple DJ’s in Europe, which resulted in the single, “These Walls,” and a remix of my original song, “Expectations”.
Growing up, what were your favorite records to sing along to?
I had a pretty diverse musical upbringing. When I was young, the Now That’s What I Call Music records were everything. Smashmouth was big, Usher was big, Yellowcard was big. I dipped my toe into rap with artists like Lil’ Wayne and Lupe Fiasco, but my high school is defined by alternative rock: Mayday Parade, Taking Back Sunday, Sublime, Red Jumpsuit Apparatus, even Avenged Sevenfold and the Used. That being said, it’s really hard to nail it down to a few artists because my taste was extremely eclectic. College was when I really discovered John Mayer, and that was a beautiful time because I had so much of his career to dive into by that time. Counting Crows and Fleetwood Mac were big around that period too. Like I said, it would be hard to nail it down to one genre or artist.
You are originally from South Carolina. What made you want to move to Nashville?
The songwriting community. Like I said, once I knew I wasn’t using my degree and I was pursuing music, it was either LA or Nashville. LA seemed really big and above my pay grade at the time, and not only that, but Nashville seemed much more inviting when it came the community of musicians on the ground level. It also seemed to provide quite a few more opportunities to simply play out because the city was smaller, and there were only so many places people went to hear music that wasn’t necessarily country.
How did things change for you since your move to Nashville?
Well, school was obviously less of a focus, but mainly, my general level of happiness has risen. It’s hard to stifle a passion, and when you’re trying to be something you don’t really believe in, whether it’s a bioengineer or whatever, it’s hard to reconcile giving half of your life to it. And, I don’t mean to say that bioengineering isn’t interesting: I continue to stay as in the loop as I can about what’s cutting edge in medicine, but I never saw myself in a lab, and when it stood next to music, it was no competition. Otherwise, my Nashville experience has been marked by learning and getting experience in a craft I knew nothing practical about. That being said, my community of friends has grown ten-fold, my “job” is writing and singing songs, and I feel fulfilled every day I get to bring something new into the world. There’s also an industry in Nashville that’s capable of helping independent musicians like me take the next step in our careers — something that wasn’t present at all in Clemson — so Nashville has helped the momentum around my music increase immensely.
As an artist, what lessons did you learn since your first release?
Everything is on an independent artist: promotion, content creation, artistic direction, funding, etc., etc., etc.. It’s a lot, and though it’s possible to manage it on your own, it’s extremely difficult and mentally taxing. That being said, if you’re ready to involve other people in your team, make sure they’re invested in your project for the right reasons. Make sure that they’re in the valleys with you and that you’re building a team that lasts and is ready to take risks based on you.
You recently released your first EP Used to This. How would you describe this project?
Used to This is a collection of the songs I’ve put out in my first few years in Nashville, and I’d describe it as an introduction. It has singer-songwriter sensibilities, but it leans pop and hints at what’s to come in the future regarding my direction and sound. As I start to release more music and evolve as an artist, people will be able to look back at Used to This and say, “I get it,” or, “I see where he came from, and it makes sense.”
When did you start working on this project?
I released the first song of this project in May of 2018, but I probably started working on “Hey There, Liquor” a couple months earlier. We released basically each song as a single, so that’s why it seems like such a long endeavor.
What are the different topics you are talking about on this project?
Used to This covers a lot. I won’t dive too far in, but it gets into heartbreak, catching feelings but not wanting to admit it, dating culture and its effect on someone’s faith in love, moving back in with parents after trying and failing, and finally, serial killers.
What's the story behind the song “Obey"?
“Obey” was inspired by the show Mindhunter. I was binging it on Netflix, and I thought it would be a fun exercise to try to write a song from the perspective of a serial killer. I know that sounds weird, but without that context, in a lot of ways, it can be taken as a song about obsessive love — you know, except for the part where I say, “See, I don’t talk about it ‘less I kill who’s hearing.” Basically, “Obey” is being sung by someone who realizes he has this compulsion but can do nothing to stop it.
Who helped you create this EP?
I wrote “Obey” myself, but the songwriters involved in the other songs are Sidnie Tipton, Karl Rybacki, Casey Cattie, Stephen Ellrod, Will Bundy, Lydia Vaughan, and Jordie Keim. Jason Lehning and I produced them all.
You closely work with producer Jason Lehning. How did you meet him? What appeals you the most about working with him?
I was introduced to Jason by my manager at the time, and he was essentially ready to take on a passion project that I was lucky enough to be the focus of. Not only is he just a good dude and mentor in a lot of ways, but I think we complement each other when we’re in the studio. He has a ton of great ideas in his own right, but he’s great at understanding what I’m trying convey and making it sound incredible. He also has an organic/alternative theme about his work, and that’s something I’m really hoping to bring to the pop world with my music.
What can you tell us about the artwork?
I actually drew and designed the artwork for Used to This myself, and it was meant to, first and foremost, be vibrant and colorful, but I also wanted it to have an eclectic, almost schizophrenic element about it, where each of the illustrations are emanating from a seemingly unaware Tim. It’s intended to be whimsical because of the variety of subject matter in the songs, and I also wanted merge the illustrative and photographical aspects in a way that gave it an introspective, fantastical sense.
As an artist, what are the biggest challenges? And what is the best part?
I hinted at it earlier, but the one of the biggest challenges is that everything is on you when you’re an independent musician. That’s why it’s so important to build a quality team around you when it comes to that point in a career, so hopefully, they can take some of the burden from you and do it in a way that’s consistent with your brand. The best part is how fulfilling my every day job is: I literally get to create art that people can connect to for a living, and that’s a beautiful, beautiful thing.
What keeps you going? What motivates you?
Again, I’d have to say the fulfillment of getting to do this forever. I love connecting with people through art, so if I can affect someone’s life in a positive way — whether it’s helping them through a tough time, leading them to self-discovery, or simply bringing a smile to their face — that’s motivation enough, as cliche as that sounds. There’s no better feeling for a songwriter than to have someone resonate and say, “ I feel that way too.”
As a human being, what do you want to accomplish?
We only have so much time, so as I’ve said before it comes down to doing what you love and hopefully impacting those around you in a positive way. I’d love to get a number one, but I don’t think my fulfillment depends upon it. I think the biggest benefit of that would be knowing that a bunch of people heard it and felt something because of it. So, as a human being, I guess that’s what I want to accomplish: connection on whatever scale my music can take it to.
What lessons did you learn in 2019?
The biggest lesson I learned is probably the value of patience in an industry that’s always telling you you’re behind. There’s peace in knowing that where you’re at is a good place. Sure, there are goals that still need to and will be accomplished, but being O.K. with and accepting it may not come tomorrow or according to my plans has had a huge impact on my mental well-being.
What are your goals for 2020?
I just want to keep growing — whatever that looks like — so I’m hesitant to use a ton of specificity on goals like this. Of course, there are the benchmarks like editorial playlist love on Spotify, selling and playing more shows to bigger audiences, getting cuts on bigger records, etc., etc.. In the same sense, if growth comes in the form of a deal, that’s amazing. If it’s in the form of streaming success, that’s awesome as well. The biggest enemy in music is stagnancy and complacency, so if I can look back on 2020 and say I’m further along now than I was then, I’ll have reached my goal.
In your opinion, what would make the world a better place?
More listening. As cliche as it sounds, the world is filled with judgmental people who think they’re right, and when that idea of rightness gets jeopardized, people get loud, so nothing else gets heard and nothing gets done. If people were more interested in listening to someone else’s story, the world would be an infinitely better place.
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