Echoes of Nostalgia: Inside The Silent Room’s Cinematic Soundscape
We're excited to introduce an exclusive interview with The Silent Room, the solo project of UK composer and keyboard virtuoso Tim Oliver. Last month Tim released his debut single, "You'll Never Know," which premiered on CLASH and serves as the first taste of his upcoming EP, Fluorescent. Blending lush synth layers and cinematic production, this track is a mesmerizing, nostalgic journey through sound, offering a glimpse of the immersive experience he’s crafted. With Fluorescent set for release later this year, the EP features collaborations with artists like Jess Greenfield (Noel Gallagher’s High Flying Birds) and Owen Parker (Robbie Williams), making it an eagerly anticipated addition to this year’s music lineup.
Tim Oliver's career spans performances with legends like Neneh Cherry, Boy George, and Lady Gaga on the BBC. Now, with The Silent Room, Tim is channeling his deep musical heritage and creative flair into a project that pays homage to his influences—artists like Pink Floyd and Peter Gabriel—while offering a fresh, dreamy soundscape reminiscent of acts like M83 and Cannons. Dive into this interview to learn more about the inspiration behind his debut single and the evolution of his expansive, cinematic sound.
What was the inspiration behind ‘You’ll Never Know’? How did the theme of the song come to life?
I’d been paying close attention to the production on the second album from The 1975. I love the combination of George Daniel’s detailed work, and Matty’s flair for hooks and a certain melancholic pop sensitivity - he’s clearly into a lot of the same things as I am. So I got drawn into that aesthetic, making simple but vibey chord progressions and sounds - and once I’d got this sympathetic feeling musical space, it’s like that gave permission for some difficult themes; isolation, regret and longing to come. Although it sounds euphoric, it’s kind of driven by a frustration which I think gave it the energy. I like that counterpoint.
Can you share any interesting or surprising stories from the recording process of this single?
The very last thing that came with this was the main chorus hook. All the musical parts and the vocal verses were in place, and I was almost getting to the mix stage when the main refrain ‘You’ll Never Know’ popped up in my head, and it was instant. Very unusual for me.
With such a diverse sound influenced by electronic rock, how do you balance the electronic elements with the rock aspects in this track?
I have to thank Julian Kindred for a lot of this who mixed it - he also brought a lot of weight and confidence to the heavier drum elements on this EP. There’s a light dreamlike synth world going on as well as the punchy drums and bass, I think what ties it together, what makes sense of it are the vocals. They raise the stakes emotionally from where some electronica can stay a bit cool or cerebral. Jess Greenfield has an amazing rock/soul voice too - that definitely elevated it and I love how it blends with mine on this song.
As a solo artist, what is your creative process like? How do you approach songwriting and production for The Silent Room?
A song or a piece normally starts in the studio with me fiddling about on a keyboard of some sort - once there’s a little phrase or sound that resonates with me I gradually build other layers, sounds and phrases onto it - kind of throwing all sorts of things at it. After a while there will hopefully be some sort of track that will attract a vocal idea. The process reminds me of those birds of paradise in nature docs that create a nest or arena on the forest floor out of bits of twig, leaves or berries in the hope that it will attract a mate. The mate in this case being a vocal idea. There’s then a lot of back and forth, a lot of cutting away and refining, a lot of listening back while I’m walking or driving - and eventually over days, weeks, years sometimes, this vague sensation hopefully coalesces into something that feels clear, true and honest.
You've had the opportunity to perform with big names like Neneh Cherry, Boy George, etc—what have you learned from those experiences?
In my brief time with a lot of these artists, it became very clear very quickly that the artists that really connect, that last, share so much more of themselves - they lay it all out there - whatever form or style that might take. I’ve taken different things from each artist I’ve worked with, and sometimes it’s just picking up on what they’re about. Neneh stands out for this, she really is the most beautiful soul. Also, I have gradually learned to not overcompensate for my nervousness by being overly familiar and end up insulting them. Eek.
Glastonbury is such a monumental festival. How did performing there shape your musical journey?
I played a memorable gig there at Billy Bragg’s Leftfield tent around 2010 with Get Cape, Wear Cape, Fly. Everyone says there’s something special about Glastonbury, and they’re right. I think it’s the ethos underlying it that creates this sense of a level playing field. I was just the keyboard player for hire, but you still get a real sense of an amazing connection with the audience. You’re there to help create these moments, but it’s the audience that give it you. It’s magical - I’m always after that.
What can we expect from The Silent Room in the near future? Are there any upcoming collaborations?
I’m currently working on a bonus track to accompany the EP with Jess, and I’ve got a project I’ve been working on with an amazing singer called Py that’s nearly done that I’m itching to get out. It’s magical and organic - and she brings a great edge to our collaboration. I do have a wish list of collaborations in my head in the future - but I’ll keep it there for now.
Anything else you'd like to share, in these awful political times, do you feel it's important as an artist to speak up?
Yes I do. Music as activism can be very powerful - but it has to come from an authentic place, so I think it helps where there’s a personal connection or experience. If you let it, music can carry in a message on a really deep, transformational level - so sometimes I think it’s best to just let the art do the talking too.
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Image credit Erica Hawkins
