If we were to judge albums on their opening numbers, Tor Miller's debut would be the most confident one we've heard all year. Before the 22-year-old's vocals even come in on lead track "Surrender," we're hit with a massive swell of strings, brass, and piano. As it progresses, "Surrender" reveals itself to be a breakup anthem set to movie-score-level theatrics, with New York's familiar subways and bridges as the backdrop.
While the city plays a major part in Miller's first LP American English (out September 30), its role—like "Surrender"'s self-assured intro—is only half the story.
Recorded in London during Miller's extended stay in the UK, American English is an album about youth, love, and the myriad emotions that come with being alone in a foreign city. In a way, it's a love letter to both an ex and Miller's homebase. "I left home about a week ago," he sings on "Baby Blue," before exposing his broken heart over a romantic bed of lounge piano. As it turns out, the New York skyline casts a long shadow over Miller's songs, from their lyrical references to their more subtle nods to the city's vibrant energy and timeless musical traditions.
Below, we're sharing some behind-the-scenes pics from Miller's recent NYC gig at the Knitting Factory. Check them out, and read our interview with Miller, below.
Can you tell me a little bit about the story behind "Carter & Cash"? Are you a big fan?
I was always a big fan of Johnny Cash and, like many others, loved the Man in Black and the aesthetic he put forth. When I wrote it, my girlfriend at the time and I idolized their relationship and fantasized our relationship being as iconic. When I started traveling for music, I kept a journal that I traded off with her as we sporadically met up in between writing trips. When she had the journal, she filled it up and we both signed our entries off with "like Carter and Cash," and that's really how it all came to be.
You've said that Headlights pulled a lot of inspiration from the people around you and what was going on in your life. How does American English compare?
American English was lifted from the journal entries during the period of about four years that I was creating this record. It 's about love, loss, travel, isolation, and everything else I experienced along the way.
What's the story behind the album title?
I was living in London for a good stretch of time and ended up recording my EP and album there. When I first moved I was at a loss sometimes when local slang interjected into conversation. As I spent more time I started picking up new phrases and really a completely new way of speech. When I returned home I got a lot of grief from my friends who thought I was affecting my new vernacular. So it comes from my time as an American living as a Londoner.
New York plays a big role in your songwriting. What was your experience growing up in/around the city? Did it reveal itself in any new ways when you started college?
As a kid growing up in New York, I had a lot of independence and space to do as I pleased. It taught me to be tough and street smart. I was also fortunate to grow with others from all different walks of life, which broadened my view of the world. It was innocent and free. As I have grown older, I have noticed there are dynamics which are much more complicated than I once knew. There is certainly a unity in being a New Yorker, but the rift between us can't be mistaken. A racial discord multiplied by fear and unbalanced distribution of wealth has muddied our world. I have also noticed more of the darker corners of New York City and it's nightlife.
Now that you've spent a chunk of time traveling around and playing shows, has your view of the city changed? Does it still have a certain magic to it?
New York will always be my favorite city, and every time I return I find something new to love about it. I am constantly meeting creative people in little nooks I had not previously searched. New York is also a city of recreation, so if I am away for an extended period I can count on the fact that some new building will be erected or a new shop will pop up on the corner.
You've cited Bowie, Fleetwood, and Elton as big inspirations growing up. How do you feel like those influences inform your live show?
I always wanted to play with a live band, so we have a pretty standard rock setup that was being used in the '70s. My main goal is to get some string and horn players, Luther Vandross, and a couple background singers, and dress us all up like Bowie's Young American era.
What's the most inspiring show you've ever seen?
The First Tame Impala show and the first James Blake show I ever went to really made me immediately want to meet up with my band and start working on making our set better. Kevin Parker made me want to add more instrumental breaks in my set; James made me want to work on honing in my vocals. The way he can capture the attention of a room with such a soft touch is astounding.
How about the best one you've played?
I recently played in Montreal and it really inspired me. I had never been there before and I had low expectations going in about the attendance. To my surprise there was a room packed with people and they knew all the words!
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