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AGES AND AGES
Fine Thanks and You(Needle and Thread Records)
Add date: 3.10.2026
Release date: 3.6.2026
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A lot was happening in my life when the songs for Fine Thanks and You began to emerge. It feels strange to talk about them without the broader context – but it’s also worth mentioning that these songs weren’t necessarily written ‘about’ what I was moving through, namely, my dad dying. Not one song on this record is about death or grief. But in so many ways the realness of that process was creating a lot of vivid existential sparks that the mind wanted to follow.
The sparks I chose to follow were mostly simple reflections about what it’s like to be in a body, to have agency, to have space, and to move through this window of time like a visitor. It was an exploration, and with every exploration comes imagery: heatwaves waving back at me (Hot Pavement)…sidewalks slipping off into infinity (City Walkin’)…painted hills, sharp like knives, cutting up the purple sky (Wild Ride)…up again, into the light again, open my eyes and then I realize I don’t want it to end (Second Thoughts).
Musically, I wanted the songs on Fine Thanks and You to have a steady pulse and I wanted them to feel sexy, like the clicking of confident high heels pacing rhythmically on the granite tiles of life’s mad hallway—bass hooks, steady kick and snare, warm synths - all of these elements existing like a reliable landmark on an electric and mysterious skyline. Because thematically there is searching in these songs, but never a sense of feeling lost.
Weirdly, it was during these times of channeling thoughts into songs that I found myself gravitating to big box stores with no intention of buying anything. This might seem like a non-sequitur - but these places were a calming backdrop to a mind that hadn’t been untangled yet. Something about the sterility of the big box store -their utter neutrality and aggressive dedication to the bland and basic. These places were a blank and empty canvas for me to cycle through ideas until a line or a hook, or even a whole song came out. I walked through their aisles for a long stretch of months. “Can I help you find anything?” I want to find a state of mind I haven’t been in (Inspiration). “What is it you’re looking for?” I don’t know what I want, all I know is that I want it to be real and I wanna feel amazing (Feel Amazing). “How are you doing today?” Fine thanks and you.
I worked at a place close to a recording studio called Trash Treasury, where Cameron Spies records and produces - so we would cross paths and talk to each other all the time about just about anything - obviously music being one of them. If feels strange to say now, but because of our day-to-day proximity, it almost seemed too “easy” to choose Cam to produce this record, so I spent some time looking elsewhere. But the more I spent time listening to the records he’d worked on (including his own band Night Heron), the more I knew he was the right person to help us create that sonic umbrella we were all wanting to huddle under.
We recorded mostly at Trash Treasury and partly at our own studio, Friendly Ghost. In either case, the studio was like a friendly fallout shelter for all of us to have fun and try things and be freaks. It was a lovely experience, consisting of Rob Oberdorfer (bass), Evan Railton (drums), and me - Tim Perry (guitar and vocals). Someone who was also instrumental during the second phase of recording, was Mira Stanley. I met Mira on a co-write we did over zoom and was in awe of her voice. We were working a lot at that time on our own material, but I asked if she would like to come and contribute her vocals to the Ages record. She drove all the way from Nashville to make it happen, and immediately fit right in. So much, in fact, that she now lives in Portland and is a card-carrying member of the band.
Photo Credit: James Rexroad Apple Music
Bandcamp
Official Website
Spotify
Tidal
YouTube
A lot was happening in my life when the songs for Fine Thanks and You began to emerge. It feels strange to talk about them without the broader context – but it’s also worth mentioning that these songs weren’t necessarily written ‘about’ what I was moving through, namely, my dad dying. Not one song on this record is about death or grief. But in so many ways the realness of that process was creating a lot of vivid existential sparks that the mind wanted to follow.
The sparks I chose to follow were mostly simple reflections about what it’s like to be in a body, to have agency, to have space, and to move through this window of time like a visitor. It was an exploration, and with every exploration comes imagery: heatwaves waving back at me (Hot Pavement)…sidewalks slipping off into infinity (City Walkin’)…painted hills, sharp like knives, cutting up the purple sky (Wild Ride)…up again, into the light again, open my eyes and then I realize I don’t want it to end (Second Thoughts).
Musically, I wanted the songs on Fine Thanks and You to have a steady pulse and I wanted them to feel sexy, like the clicking of confident high heels pacing rhythmically on the granite tiles of life’s mad hallway—bass hooks, steady kick and snare, warm synths - all of these elements existing like a reliable landmark on an electric and mysterious skyline. Because thematically there is searching in these songs, but never a sense of feeling lost.
Weirdly, it was during these times of channeling thoughts into songs that I found myself gravitating to big box stores with no intention of buying anything. This might seem like a non-sequitur - but these places were a calming backdrop to a mind that hadn’t been untangled yet. Something about the sterility of the big box store -their utter neutrality and aggressive dedication to the bland and basic. These places were a blank and empty canvas for me to cycle through ideas until a line or a hook, or even a whole song came out. I walked through their aisles for a long stretch of months. “Can I help you find anything?” I want to find a state of mind I haven’t been in (Inspiration). “What is it you’re looking for?” I don’t know what I want, all I know is that I want it to be real and I wanna feel amazing (Feel Amazing). “How are you doing today?” Fine thanks and you.
I worked at a place close to a recording studio called Trash Treasury, where Cameron Spies records and produces - so we would cross paths and talk to each other all the time about just about anything - obviously music being one of them. If feels strange to say now, but because of our day-to-day proximity, it almost seemed too “easy” to choose Cam to produce this record, so I spent some time looking elsewhere. But the more I spent time listening to the records he’d worked on (including his own band Night Heron), the more I knew he was the right person to help us create that sonic umbrella we were all wanting to huddle under.
We recorded mostly at Trash Treasury and partly at our own studio, Friendly Ghost. In either case, the studio was like a friendly fallout shelter for all of us to have fun and try things and be freaks. It was a lovely experience, consisting of Rob Oberdorfer (bass), Evan Railton (drums), and me - Tim Perry (guitar and vocals). Someone who was also instrumental during the second phase of recording, was Mira Stanley. I met Mira on a co-write we did over zoom and was in awe of her voice. We were working a lot at that time on our own material, but I asked if she would like to come and contribute her vocals to the Ages record. She drove all the way from Nashville to make it happen, and immediately fit right in. So much, in fact, that she now lives in Portland and is a card-carrying member of the band.