Silver Halide Film (Vinyl)
Silver Halide Film is named after a sign I saw on one of Adam Adler’s restored photobooths at Flinders St Station, referencing a kind of photographic material found in traditional photography mediums. Similar to the way film turns light into lasting piece of art, each song on the album distills a distinct feeling, where memory and imagination coalesce.
Thematically, Silver Halide Film begins with detachment and disillusionment. Like a Joachim Triar film, both art and human connection disrupt apathy, reminding us we are alive. However, the album is not a clear-cut journey towards connection and meaning, instead exploring at a subtler interplay between these two states.
Recorded alongside friend/collaborator Dean Tuza, the album’s sonic palette is organic and unvarnished, featuring folk guitars, double bass, piano, stratocaster riffs, and trumpet flourishes. It embraces imperfections: a whispered harmony from a passerby captured in a park recording, the scratchy warmth of tape echo. Tilly’s approach is intuitive and antichorus in favor of something sketchier, more tactile, and profoundly human.
Silver Halide Film (Vinyl)
Silver Halide Film is named after a sign I saw on one of Adam Adler’s restored photobooths at Flinders St Station, referencing a kind of photographic material found in traditional photography mediums. Similar to the way film turns light into lasting piece of art, each song on the album distills a distinct feeling, where memory and imagination coalesce.
Thematically, Silver Halide Film begins with detachment and disillusionment. Like a Joachim Triar film, both art and human connection disrupt apathy, reminding us we are alive. However, the album is not a clear-cut journey towards connection and meaning, instead exploring at a subtler interplay between these two states.
Recorded alongside friend/collaborator Dean Tuza, the album’s sonic palette is organic and unvarnished, featuring folk guitars, double bass, piano, stratocaster riffs, and trumpet flourishes. It embraces imperfections: a whispered harmony from a passerby captured in a park recording, the scratchy warmth of tape echo. Tilly’s approach is intuitive and antichorus in favor of something sketchier, more tactile, and profoundly human.
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Description
Silver Halide Film is named after a sign I saw on one of Adam Adler’s restored photobooths at Flinders St Station, referencing a kind of photographic material found in traditional photography mediums. Similar to the way film turns light into lasting piece of art, each song on the album distills a distinct feeling, where memory and imagination coalesce.
Thematically, Silver Halide Film begins with detachment and disillusionment. Like a Joachim Triar film, both art and human connection disrupt apathy, reminding us we are alive. However, the album is not a clear-cut journey towards connection and meaning, instead exploring at a subtler interplay between these two states.
Recorded alongside friend/collaborator Dean Tuza, the album’s sonic palette is organic and unvarnished, featuring folk guitars, double bass, piano, stratocaster riffs, and trumpet flourishes. It embraces imperfections: a whispered harmony from a passerby captured in a park recording, the scratchy warmth of tape echo. Tilly’s approach is intuitive and antichorus in favor of something sketchier, more tactile, and profoundly human.
