Story Of A Soul Slinger: Tim De Cotta Gets Intimate With Matters Of The Heart
The accomplished singer-songwriter bares his soul in this interview (Credit: Axel Serik)
You can’t address the modern local music scene without bringing up the name, Tim De Cotta. Beyond gifted musicality, which this groovy doyen has in spades, the desire to help others is a gold-plated attribute that makes one truly respectable. Ask musicians across the scenescape and they’ll likely vouch for the significance of his contributions, be it his solo repertoire as a soul-fuelled artiste, his countless credentials as an apex sessionist on the bass, or his various agency-led projects that’ve helped bolster the framework of the industry and those in it. Tim De Cotta has done plenty, and he’s done it all with heart and humility.
For years, Tim has been a mainstay in the gig circuit, often having audiences in the palm of his hand with a captivating format: vocals smooth like butter and a bass guitar as a melodious lead. As a beast on the bass, the self-professed warrior is also a gripping attraction in the numerous bands he’s a member of, including TAJ, L.A.B and neoDominatrix. And because everyone wants the expertise of Tim De Cotta on their records, it’s not surprising to find the bassist extraordinaire drop his chops on records from the likes of .gif, iNCH, Michaela Therese and Disco Hue.
Tim has done plenty for the scene, and not just for himself (Credit: Axel Serik)
Yet it is Tim’s sincerity that makes the loudest noise. Admired as a mentor to many, Tim runs his very own Warrior Records and Getai Group arts curation agencies, helping to enhance the scene with initiatives that educate and elaborate. From the ambitious Getai Soul festival of 2016 that created a platform for soul music in Singapore, to The Great Singapore Replay that documented the history of the local music industry with modern renditions of golden oldies, these are all projects the scene dearly remembers, with Tim being part of the innovating vanguard. A gift that keeps on giving, Tim is understandably cherished by the scene he loves so much.
Which brings us back to the buzz surrounding his upcoming solo EP. After a string of isolated singles, Heart Matter finally sees the singer-songwriter round up a collection of compositions since his debut full-length in 2017, with new release, “Lying Eyes”, offering anticipating listeners a first glimpse. On the collaborator-filled EP, Tim latches onto the all-too-familiar concept of love, while delving into its highs and lows with an active imagination and a penchant for nostalgia. He salutes the era that shaped him, unveiling what might be his most personal record yet.
So get intimate with one of the scene’s most treasured figures, as Tim bares his soul in this interview about scene longevity, his new perspective on love and what’s to come.
Tim is all smiles with a new single out and an EP on the way (Credit: Axel Serik)
Hey Tim! How has Phase Two been treating you so far? Has it been a productive or stifling period?
It’s been alright! Been actually doing a lot of learning about mixing music and get this… cooking! As a musician, it’s been a time of creation, where we all have the luxury of time. Even though times are tough financially, the time in lockdown has actually allowed me to get back to making music without guilt; pretty much like how I used to back in my school days.
Live performances have been a casualty in these restrictive times. What have you missed most about performing to audiences? And how have you felt about live-streaming as a substitute?
I think at this point in the event landscape, beggars can’t be choosers. So even though I infinitely prefer playing a live gig, I’m still happy I get to somewhat connect with listeners through live-streams or online means. Live-streaming will never be able to replace the ambience of a live gig, where the air is thick with music and people, and physical connection. But now the lockdown and stricter measures on singing and performing present a more reflective challenge on how we as musicians will make up for the lack of live gigs to showcase what we can do in a live setting. I think the pivot now has to be to stories; stories behind the music and perhaps more in-depth sharing of the processes behind creating the music. Focuses and gratification points have to shift, man. No choice.
Your performances are always captivating whether you’re slinging it solo or jamming with a full band. Which do you prefer more?
Ah, I always prefer playing with a full band, just because of the wonderful humans I get to create it with. Also, my instrument of choice is the bass guitar, and it works best with a rhythm section. Sure, I can play chords and use effects, but there isn’t anything like locking with a drummer and syncopating with him/her/them and the other instruments that activate a different level of awareness within the music. Vibing off each other is something you can’t achieve in a solo setting as easily.
Indeed, it’s no secret that you’re a wizard on the bass. How do you keep improving on an instrument you’re already so good at?
Oh, I am far from a wizard on the instrument! I can handle rhythms and lock in a groove pretty instinctively, but as far as finding a voice on the bass goes, I haven’t gotten there yet. There are many amazing bassists who can speak on the bass in Singapore, like Casey Subramaniam, Ben Poh, Jase Sng and Nicholas Lee! Watching these guys keeps inspiring me to get better, and of course listening to bassists like Jaco, Thundercat, Derrick Hodge and Mono Neon, really make me think of ways I have yet to express myself with this wonderful instrument.
Tim’s versatility with the bass makes him gel with all sorts of musicians and settings (Credit: Axel Serik)
Soul has been a staple of your craft for many years. Is it a genre that reflects you in the most honest way? Would a Tim De Cotta without soul be blasphemous?
Yeah, I think I gravitate to soul, r&b and hip-hop music because I was born in ’86, so I grew up through ’90s hip-hop and r&b, and then graduated from there to neo-soul and conscious rap. So musically, this is the default language I write and express myself from, but I wouldn’t say a non-soul approach would be blasphemous for me haha! I think I would infuse my own style into other music genres; while I do think the soul would still slap through, I wouldn’t be a fish out of water. In Singapore, doing music and cover music, I’ve had to adapt to singing in genres I wouldn’t naturally see myself land in, but I’ve done it before!
Earlier in June, you conceptualised a thought film titled “Transition” in collaboration with the ArtScience Museum. Can you tell us more about what that experience meant for you personally?
It was cathartic for me! Any reason to get out of the house! I really did like moving outside away from crowds around Tampines, walking for a few hours and just capturing the greens, buildings and people from a distance. I wanted to express my thoughts freely so I recorded what I was thinking about into words, and then used that somewhat as a storyboard for how I edited all the footage I got. As for my music crossing into the film realm, it’s always been a dream of mine for that to happen, so “Transition” was a dream project to work on! In the vein of sound production and design, I’ve always wanted to do film scoring or even foley for film, so I’m always on the lookout for any opportunities that might lead me there.
Moving on to more recent releases, I’m loving the funk-tinted, harmony-lined grooves of “Lying Eyes” from your upcoming Heart Matter EP. Why did you want to honour the hues of the ’80s in this single?
I think like, I wanted to remind the world today of the rich tones we had in the second half of the 20th century. Also, it was nice to wrap myself in sonic nostalgia while producing the track, as my collaborators, NAztyKeys, Josiah Suthan, Leo Goh and Souldot Studios equally enjoyed. It reminded us of how we grew up with music. For me, a lot of my influences from the ’70s to the ’90s have fundamentally shaped my approach to rhythm, melody, harmony and songwriting. So, I wanted to work from a place that defined me as well, hence the hues from those eras on “Lying Eyes”! The other songs on the EP also have an older era vibe to them, intentionally, as I wanted to put a kind of a throwback treatment to these songs.
The artwork for Tim’s latest single (Credit: Eric Foenander)
The subject of the song covers the dark side of love, where the protagonist has caught a cheating partner. How did you get into the headspace of this story?
It was difficult for me to imagine outside of my true experience of love. I wanted to write an EP about love; that was the starting point of my subject matter. But then everyone who knows my music knows my love songs are all about my life partner, whom I have a strong and supportive relationship with as she and I love each other deeply and unconditionally.
But I then realised that it would be presumptuous and naive to think that there is only a good side to love to write about. So I wanted to write something from a less lucky perspective of love, where the reciprocation factor is missing. I mean, I think heartbreak and infidelity is a very real and relatable subject when we as humans navigate through love. I channelled my personal nightmare scenario, in a love/relationship that would fail in this way, where I give my all to someone who gradually falls out of love with me, to eventually find out she has been falling in love elsewhere. Then I created the contrast of that scenario with a funky-ass beat, just to create some confusion.
So is this a preview of what Heart Matter is going to be about? A collection of anecdotes about love?
Yes! The other songs are based on my love experiences though, so you can expect a slew of lovey-dovey numbers from here on out.
“I then realised that it would be presumptuous and naive to think that there is only a good side to love to write about.” (Credit: Axel Serik)
How did you select your collaborators for this EP? Are they all musicians you have great chemistry with?
Chemistry is really important to my music, just like in love. So, for this EP, the talented friends who’ve been in my corner forever are heavily featured. There are two tracks with spanking new features though, so those are exciting. Also in lockdown, I’ve gone back to my beat-making roots, so you can expect a lot of programmed beats and arrangements that were totally self-produced due to the restrictions of the times. Was a nice reversion though, to how I always used to write music before coming into the scene.
You’ve done a lot over the years with your agencies, Getai Group and Warrior Records, where you worked on various projects for the scene. How do you feel about the growth of the groups so far?
So from Getai Group, I’ve moved on to create Warrior Records, my latest iteration of the company, which handles all the previous portfolio, but adds music production and eventual (hopefully) label scope to what we can provide. There are always avenues that I want to help the scene in, especially in creating a landscape where it’s easier for hopeful musicians to enter and start making a higher standard of music. Times are currently tough of course, but they have also allowed me to regroup with potential collaborators in the community and arts spaces to continue the work we’ve been doing since 2015! Like a friend once said, why protect just your rice bowl when you can expand the entire dining table, and just collectively “eat” better.
“Music in my opinion, as with everything else in life, shouldn’t consume you, yet it should inform you of your purpose, and help you find out who you are and who you’re meant to be.” (Credit: Axel Serik)
Lastly, you’ve been a longstanding member and warrior of the music industry, helping it grow while paving the way for others. What lessons have you grasped and held onto with your longevity in the industry?
I guess, the biggest yet most basic lesson I’ve learnt is the sanctity of space. I’ve learnt to guard my spaces well, whether it is the space I create music in or the space I do my campaigns and events in; or the space for love, family and everything else in life.
I maintain my boundaries in work and music as I balance time with family, friends and the time to learn and experience new things, and just to relax and enjoy life as it comes. Music in my opinion, as with everything else in life, shouldn’t consume you, yet it should inform you of your purpose, and help you find out who you are and who you’re meant to be. We all might die tomorrow so, if we knew we were going to, what would we do; and more importantly what would we immediately regret not doing?
(Credit: Axel Serik)
