The sun is shining and Tommy Paxton-Beesley needs to get outside. It's hot for the moment, but it's hard to take advantage of summer's temporary manic haste when you're focused on working on something timeless instead. Seasons don't exist in the studio, only sounds.

It was just earlier this summer that Toronto-based Tommy self-released his most recent album Indigo as River Tiber, now recognised as one of Canada's most notable multi-instrumentalists and producers. His discernable hazy blend of electronic R&B and subtle psychedelia, (paired with a notable network of collaborators like Pusha T, Kaytranada and BADBADNOTGOOD,) has not only propelled his name to the forefront of Toronto's ascending music scene, but outward and beyond. Now it's time to follow in his music's footsteps to the places his pieces have already reached. But first, he'll start with a simple step outside.

Anyone from Toronto knows the plight of an artist trying to make it out of Toronto. How did you do it?

I don't know if I've made it out of Toronto, yet. But I can see it starting. There's a window right now, for sure. It's getting there. When I look at the amount of work that I've put in, it's definitely crazy. I've put out two albums and two EPs before this one. I guess you can call them mixtapes. I've been doing this for a minute. It takes a really long time to get noticed.

So what then does Indigo signify for you personally and professionally beyond the scope of the title of debut studio album?

To me, it signifies that transition to really just setting the foundation of the type of art that I'm trying to create. It's definitely the most complete piece of music that I've made so far. It's a whole journey.

I was reading an interview and you mentioned that putting out the project was anti-climatic in a way, because you had been working on it for so long and the process of putting it out on that type of level took time. So what did it teach you that you're implementing into your creative process now that you've begun working on new music?

I think that I'm constantly learning to be even more patient than I would have expected. Constantly. That's a big one. I would say that I always try to keep my expectations in check. I'm always ready to just do more work and get back in the studio and keep creating. A release schedule is always pretty far out from when you created the music so I'm always aware of that and I'm already working on new music right now. It's been a little hectic compared to a year ago. So I haven't been writing every single day, but I'm just trying to get more stuff out there and try to develop every single day as an artist and just keep it moving. That's what I've really learned, you just have to keep it moving.

You describe your creative process as "free-form experimentation." How is that a good reflection of who you are as a twenty-something artist from Toronto?

Toronto is so diverse, culturally and in terms of all the different art and all the different experiences. I grew up downtown but I went to school in North York with people from all over the city. I went to an arts school. I've just been exposed to a lot of different ideas and I try to just keep an open mind when I'm creating. By free-form, I would say that I hone in on different methods, depending on what the idea demands. It's not just completely open-ended and without borders. It's just that I try a lot of different approaches to how I make music. I guess I'm still honing in on my own method. I try not to be formulaic about it.

You're always thinking visually when you're writing about music, I heard. Everything is a soundtrack to you. What was your favourite moment that was sonically photographed and transitioned to sound on Indigo?

Acid Test. The initial idea for that, I was playing with a couple of the guys in my band and we were just jamming in the space and I was on drums and it was just a crazy energy. We had been listening to Jimi Hendrix and we were spontaneously getting into it. It was pretty wavy. It was a hot summer night and we played really loud to the point that we got noise complaints and shit. I was literally drenched in sweat. It was manic. That session was where the initial idea came from. It sounded a bit different. I recorded it on my phone and went back to it and that's how I started 'Acid Test.' and it takes me back to that vibe every single time.

Do you plan on transitioning into soundtracks in the future because of how that fits your current mentality?

It's a matter of seeing what opportunities present themselves. I would love to do some film music. That's a huge influence, for sure and a huge part of the concept. At the same time, I'm really focused on writing songs right now. Scoring for film is kind of a different format, where you score to a scene that might already be shot. I'm down to do that in the future, but right now, I'm working on my songwriting and don't really want to mess with that limitation. But I've thought about that, a lot.

What does your current summer soundtrack sound like? What are you playing and how would you describe the creative vibe you're in summer sixteen?

I'm definitely listening to that new BADBADNOTGOOD, of course. I'm listening to a lot of Marvin Gaye lately. I'm always listening to a lot of old music. I'm doing a bit of travelling this summer, doing a few shows and stuff. I usually write a lot when I'm sitting on the plane. I just write lyrics and stuff. I'm just trying to get outside more. You end up just in the studio where there's no sunlight and I need to step away from that for a minute and get outside and breathe a little. That's my mentality.

I read that you defined success as being able to do this for the rest of your life. In this time of music market, where relevancy and hype cycles by the hour, what do you think the key to that is, with you specifically?

I think you kind of just ignore the noise. I know when I'm making something of quality that is indispensable. I think that the way we consume music today is a little bit crazy. It's at a speed and pace that is unprecedented. You don't even purchase music anymore, you just rent it from a database and then you just throw it away and dispose of it. The speed at which shit moves is crazy. I think that seeing people review albums a few days after they come out or whatever is a little intense too. People need to slow down a little bit. I feel like I've connected with a lot of people that feel the same way as me, who like to listen to music a little bit more slowly and who like to take their time with the art and contemplate it a little more and give things more than one listen. I always want to stay on that track. I think that is just a timeless and unshakeable way to create. I just tune out the whole hype conversation, because I don't care about artists that are hyped up. I listen to music that's stood the test of time. I keep up with it all. I like the idea of it. It's fun, but when it comes down to the real shit, I just don't care for that whole world.