B-Side Guys

Four years of backline anonymity have clearly served Tim Carr well, allowing the Perfume Genius and Hand Habits session player to develop his solo voice without external pressure or expectation. “Candy Sick” emerges from his Tujunga retreat as the kind of electronic pop experiment that requires genuine solitude to properly gestate, where measured instrumentation meets childlike wonder without sacrificing adult emotional complexity.

Carr’s transition from jazz drums training at CalArts to home-recorded electronic music demonstrates impressive stylistic range without feeling scattershot. His description of the Crescenta Valley as “a fictional place, where there are big ideas floating around ready to be caught” translates directly into production choices that prioritize atmosphere over conventional song structure, understanding that some musical ideas require space to develop organically.

The collaboration with Gregory Uhlmann on other Pleasure Drives tracks establishes Carr’s comfort with selective outside input, but “Candy Sick” appears to showcase his solo sensibilities most directly. His approach to digital pop avoids the cold precision that often plagues electronic music, instead using synthesizers and drum machines to create warmth rather than sterile perfection.

Carr’s vocal vulnerability, honed through years of supporting other artists’ visions, finds confident expression here without overwhelming the track’s delicate electronic framework. His background as touring drummer with The Americans and Fell Runner shows in his understanding of rhythm as foundation rather than decoration, allowing electronic elements to pulse and breathe rather than simply marking time.

The “childlike wonderland” description risks trivializing the track’s emotional sophistication, but Carr successfully balances innocence with experience. His eight years of FruityLoops experimentation since teenage years has evolved into mature electronic composition that treats nostalgia as creative fuel rather than escapist retreat.

“Candy Sick” positions Carr as an artist ready to step forward from session work into solo territory, demonstrating that some creative developments require extended periods of private experimentation before public presentation.