Around 2003, another opportunity arose which some could say were the very early beginnings of Aitch or at least the most relevant pieces to the equation. With then-girlfriend Kristy Kelley, Elder created Lillian The Mannequin and recruited future Aitch members and roommates James Florence and Micah Suard. The band was equal parts indie rock and folk music and would bring a mannequin on-stage during shows, complete with her own rotating wardrobe.
Lillian The Mannequin would often perform during open mic sessions at Northlight Books in Cotati, California, and there met fellow local artist Andrew Maurer, a previous member of Seeded Skies and future member of Slopes of Distant Hills. Elder and Maurer grew a friendship that continues to this day. Andrew’s ability to craft lyrics that speak to the metaphysical nature of the world extends beyond space and time to genuinely touch the listener and his soulful voice can be found on several Aitch recordings. Maurer’s cover of “Annabelle” by Gillian Welch on a Santa Cruz morning radio show also led Elder to reconnect with his love of country and folk music that was so present during his childhood, noting that he has an unapologetic obsession with Welch’s Time (The Revelator).
The Santa Rosa music scene was incredibly tight-knit, and the chance of working with or being a fan of your friend’s friend’s music was high. The first concert Elder ever went to was ska band Tin Circus, featuring now frontman for The Velvet Teen Judah Nagler. Developing an admiration for he and brother Ephriam, Elder later recorded Lillian The Mannequin’s album at their childhood home. Inspired by the aesthetic of The Velvet Teen’s promotional material, many of Elder’s band posters feature their influences. Member Josh Staples went on to design the poster for Aitch’s inaugural album release with Ephraim’s skills seen through the mixing and mastering of the record.
During this transformative time in his young adult life, T. Elder would frequent Amoeba Music in San Francisco and purchase hundreds of CDs from the $1 bin. As he just couldn’t satiate his love for music, one particular find, This Beautiful Mess’ Temper the Wind to the Shorn Lamb, would create a lasting impression. Not only does he sport a tattoo on his left forearm as an homage to the band, but it led him to a deep love affair with multiple artists on the Dutch label Volkoren, including Brown Feather Sparrow and Anderson.
Although Lillian The Mannequin was doing well musically, the inner workings of the group were not. Kelley and Elder ended their relationship sometime in 2003 and in 2004 shortly after Kelley moved to Minneapolis, Minnesota, the group was offered a record deal from Ben Pasley of Enter The Worship Circle. While the timing may have seemed horrible, it was all part of a much bigger plan.
The call from Ben came on the day that Elder, Suard, Florence, and others embarked upon a US tour with metal band Under The Knife. While Elder wasn’t in the band per se, he offered graphic design and roadie services, living in the school bus and writing songs on his guitar along the way. Listening to Aitch’s tracks might make one question how touring with a metal band influenced Elder’s songwriting, yet while members of Under The Knife are calm, cool, and collected, Elder prefers to temper his aggressive nature and create more balanced and melodic tones. It was during this time that T. Elder really learned the value of wordplay and messaging within one’s lyrics, as artist MF Doom inspired him to fill in the gaps of his songs with stories and cloaked references.