Tim Schmidt lives and works in Berlin.
He is creating fingerpicked music and soundscapes, photography and video collages. He is also writing research-driven art critique for Swedish online art journals.
His music has been aired from Nebraska to India, Japan and Sydney and back to Europe where it originated.
In a genre encompassing a mixture of American and British folk traditions as well as the rural and the urban alike; the echoes of the landscapes of his past and present, appear entwined in soundscapes of pump organs, acoustic guitars, sounds of typewriters and tv shows and do-wops.
Tim Schmidt has released 7 solo albums [on indie labels Analogsoul and Thanks for the Postcard in Leipzig and Montreal in 2009/2010 and 2011.
Schmidt has however mostly released his lofi recordings on own labels as Just like records and this is not a record. -2019.
Schmidt has toured and done 250+ concerts in the EU, mostly as a solo act. His songs is also featured on 10+ collections from Nebraska, Sydney, Hamburg, Gothenburg, Berlin, India, Japan etc. in the years 2007-2012.
He was awarded with Swedish indie award: "Manifestgalans pris till årets osignade på MySpace 2008" in Stockholm, 2009.
In 2018 - 2019 two new singles and two new albums were released. The first albums released since 2014. The music is available to stream and download on Amazon, Bandcamp, Deezer, iTunes, Spotify.
In recent years Schmidt's catalogue has evolved from lofi folk
to instrumental tunes to include appropriation as a tool for working on still- and moving images. In all this Schmidt also writes art critique for a Swedish online art journal and photographs.
[Schmidt is also found on YouTube, Instagram, Facebook, Twitter].
Schmidt holds a MA in art history from Uppsala University and has also been a student at Valand Academy of Arts in Gothenburg, Södertörn Högskola, Malmö Högskola, Lund universitet, Umeå universitet and Universität zu Köln [from 2010 to 2016]. And a student of music, songwriting and sound design at Bollnäs folkhögskola during 2007 to 2009.
Who cares for chronological storytelling these days anyway?