The passage of time weighs heavily on Tom Alter’s mind.

The Fraser, Michigan, singer-songwriter examines lessons from the past while addressing challenges of the present and future on Under the Firmament.

“When I write, I usually write songs about things that are staying in my mind for a while,” said Alter about his latest indie-folk-rock album.

“It can be issues or life events that are sticking with me, and I can’t let go. Time is an aspect of it, and I think it is just living and the common experiences that we all have.”

Alter chronicles those experiences through nine perceptive tracks, which feature contemplative lyrics, haunting guitars, and atmospheric instrumentation.

“At my age, I’m even writing more about time now on the songs I’ve been writing since then,” he said. “I think the theme will continue into my next album and project. I think it’s … trying to grapple with life and how it impacts us as individuals and as a community.”

I spoke with Alter about Under the Firmament and the inspiration behind it.

Q: The lyrics for the album’s tracks reference light and its emotional and spiritual impact on you. How did light become a recurring theme for the album?

A: It comes up a lot in my songwriting, and ultimately, it becomes a habit. This is very similar to some of my previous recordings, where I’m talking about issues and concerns, but then I turn back to where I get my solace. It’s in my faith, it’s in my wife, it’s in the relationships that I have, and I guess I see that as a light always, a light in the darkness.

Q: “8 Acres” includes the lyric, “Under the arch of the firmament.” How did it influence the album’s title?

A: The song came first, and the [lyric] seemed to encapsulate everything. I was struggling with finding a title for the album, and a lot of times, I will do that. I will go through all the lyrics and say, “Is there something that’s encompassing the theme?”

Q: “For the Guilty One” acknowledges learning from past mistakes and beckons for spiritual guidance. How did examining old regrets and searching for forgiveness inspire this track?

A: I can be critical of people and criticize the state of the country, politics, and all of that, but it’s still important for me to make sure that I’m being the best person I can be and realizing that it’s not always that way. It’s reminding myself that I’ve made mistakes, and fortunately, my faith tells me I’m good—it’s OK. I have the light, so without getting too schmaltzy with my faith, I reference a couple of things in there that are … things from my past that I’ve done that I’ve never shaken, but I know I was forgiven.

Q: “Flamingos in Michigan” explores feeling out of your element and being concerned about the future. How did reading an article about flamingos migrating to a beach in Sebewaing, Michigan, catch your attention?

A: I was impacted by a [2023] news article I read that said there were flamingos on the beaches here in the fall, and I thought, “What the heck are they doing there?” You start to think about the environmental impact of climate change and things like that.

That [song] would have been written before the [2024] election. And now, as things are proceeding in this administration, it’s this whole idea of “How in the world have we ended up here?” That had to be what the flamingos were thinking. It’s not only about the environmental impact [of climate change], [but] it’s just everything I thought I knew and believed in about this country is all of a sudden flipped on its head.

Q: “Colliding Stars” chronicles the evolution and intersection of Joan Baez and Bob Dylan. How did you connect with Joan Baez’s documentary for this track?

A: I had the line sitting around a while about stars colliding, and I can’t remember where that came from. However, I watched the documentary about Joan Baez, and that story just stuck with me for a while.

And I thought about it for a long time, and the more I started to think about it, I realized, “Wow, this is like a real-life A Star is Born. That colliding stars line that I have works here because that’s what happens. One star eclipses the other, and they’re in a way, pushing at each other.”

Joan Baez brought Bob Dylan into the fold, and then she had to push her way to stay there and eventually faded from his orbit. In the [Bob Dylan biopic] movie, A Complete Unknown, they seem to project that a little differently than what her story says. While this is a particular story about two people, it’s also a universal story.

Q: “I Need a Ghost” highlights the fleeting aspect of inspiration and the struggle to capture it. What was it like to explore this theme as a songwriter and musician?

A: It’s about having ideas that spark at night, and then they’re gone by the morning. It’s saying, “I need something or someone there to remind me,” so that’s the ghost. That’s one that was influenced sonically by Annie Bacon & Her Oshen’s album, Storm, and the rhythm and percussion that’s on it. I’m using more electronic percussion, and I’m just finding it interesting. It ends up being a softer accompaniment; I can be simpler with it than with a natural drum sound.

Q: “Through the Eyes of Monet” recalls a memorable date at the Toledo Museum of Art and the lasting impression it leaves on someone. How did revisiting that date prompt you to write this track?

A: This is a true story, and it’s the first real date [my wife] Heide and I had. We had known each other for years, and we had worked together at various points. We were married to different people, but we have always had a good relationship. It was a natural thing. When my first marriage was truly over, I thought, “I’m not gonna go through this period of years of mourning. I’m gonna go out with friends.”

Heide was a friend, and I was attracted to her. That was a really cool thing to say, “Well, we’ve talked about art before, and they’re having this Impressionistic exhibit at Toledo, do you wanna go?” Everything took off from there, and you don’t have a first date with somebody you’ve known for years. And you don’t have a first date where you spend an entire day with someone you know and then make such a connection.

Q: You spent about eight months on the creative process for Under the Firmament. How did it all come together in your home studio?

A: Generally, I start just writing songs, and I’ll usually get three or four, and then my writing will turn to what’s going to fit. I’ll be thinking, “What other songs are going to complement the theme that I’m working on?” I think “Flamingos in Michigan” came first, and then I went from there. “Empty House” was a feeling one day, so I think that one was an early one, too.

As soon as I’m done with a release and I’ve mastered and submitted it, I take a little break … but it’s not long after that that I start writing. I started writing in March or April 2024, and I started recording on May 1, 2024. The larger part of the time is the production, the mixing, and the mastering.

Q: What inspired the album’s atmospheric sound?

A: It is very much intentional. It’s something I’ve been building toward over time, and in terms of my production, I am learning that less is more. If I can get a good, clean sound, but at the same time, I want to add just enough elements to give you an atmosphere and an emotional feeling and variety to keep it interesting. My favorite part of the production [process] is to put things in and then take them out, and then see what should stay and what shouldn’t.

That’s what I love about Greater Alexander’s albums … that’s another one that’s been a major influence on what I’ve been working on. It’s so tasteful, and it’s never too much—it’s always just enough.

Q: What other artists helped influence the sound of Under the Firmament?

A: There are a few artists who inspired me on this album or influenced the music. “For the Guilty One” is inspired by a duo called Hermanos Gutiérrez, and their guitar-playing, and my work on that was so influenced by them.

In particular, “Empty House” and the percussion work on that and everything … I really loved Annie Bacon & Her Oshen’s album, [Storm]. I listened to that so much, and I listened to the choices they made for percussion. I was just influenced by that … and it was a tone and feeling that I was going for very much on that song, [“Empty House”]. I’m sure it filters into other songs, too, but that one meant a lot.

Q: You’re performing with Milan Seth and Carmel Liburdi on May 17 at Ann Arbor’s North Star Lounge. What can people expect from the show?

A: It’s the second time we’ve done it as a group. We were there last year, and it went so well. We have an hour and a half, so we’ll get in six songs each. We do our own songs, and we accompany each other. There’s always one song I beg Carmel to play called “Hell’s Bathroom Floor.” It’s such a cool, jazzy song that takes a little guitar solo on it.

Q: What plans do you have for new material—either solo or with After Blue?

A: I’m writing, and I have four or five songs since the album that I’ve been working on and thinking about. I’ve been pumping out [an album] every year, but when the muse strikes me, I’ll get back to recording. Katie [Williamson] and I have been wanting to do a new album. We haven’t released an After Blue album since 2021. We got through one song recorded, but again, it’s working schedules and everything. I have a feeling it’s gonna hopefully happen this summer. We have five songs, so it might be an EP, and it might expand.

Tom Alter performs May 17 with Milan Seth and Carmel Liburdi at North Star Lounge, 301 North Fifth Avenue, Ann Arbor. For tickets, visit North Star Lounge’s website.