Song, by Toad


Timber Timbre – Creep On Creepin’ On

This is one of those albums I had a sort of sinking resignation I would find kind of dull, just because I loved its predecessor so much and there wasn’t much obvious sign of change in the officially sanctioned promotional material.  I sometimes think PR people and/or labels make mistakes with that kind of thing: releasing stuff designed to appeal to people who loved the last album. I know engaging with the existing audience for a band is crucial, but the last album isn’t the point, and picking songs that sound too much like it can be kind of misleading and confuse your audience.

With this album the progression from previous work is pretty subtle though, so it doesn’t really matter so much.  That slim change generally sends me running to the hills but in this case, after a few listens, no such thing happened.  This is another beautiful record by Timber Timbre.

It’s richer and a bit more adventurous than their previous album.  The sax, of all things, features quite prominently, and the orchestration is generally fuller and more involved, although the use of unusual noises and found sounds (or at least imitations thereof) is lovely.  Songs like Swamp Magic are a gorgeous interplay between the two.  This is one of a couple of instrumental tracks which work brilliantly in the context of the album.  In this particular case, the rattling voodoo of Swamp Magic brilliantly sets up the phenomenal Woman and it’s at this point, about halfway through, where it’s obvious how the game has been raised from one album to the next.

Where their last album was wonderfully creepy this one, despite what the title may suggest, is much more openly menacing.  It has a strut to it, a cocksure bad-boy swagger of that kind that makes people pull the curtains and lock up their daughters when it comes riding into town.

If anything, I think Timber Timbre remind the most of another of my favourite artists: Micah P. Hinson.  The ability to evolve comparatively slowly without being dull, the capacity to shift emotional emphases mid-record to keep you engaged, the darkness with that redeeming vein of sly wit… it’s all at least analogous, if not directly stylistically comparable.

There’s not much more to say really.  As far as I am concerned this is a brilliantly constructed album full of songs which, as well as being great as part of the overall work, are all pretty fucking wonderful in their own right.  Very few people will be able to approach the quality of this record in 2011, but I look forward to seeing them try.

Timber Timbre – Black Water

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Timber Timbre – Woman

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10 witty ripostes to Timber Timbre – Creep On Creepin’ On

  1. Agreed – wonderful record.

  2. avatar
    i are scientist

    Very much looking forward to getting my mits on this one..

  3. avatar

    Beautiful. Reminds me of The The. I think it’s the effect on the voice. I will be adding this to the wish list.

  4. avatar

    Crikey, I’d never made that connection at all. Granted, I don’t know The The very well, but nevertheless, from what I do know of them I still don’t know if I’d say that.

  5. avatar

    Excellent, I was hoping this would be good. 2011 is shaping up to be a memorable year musically. The new Felice Brothers drops in about a month, and it sounds like an interesting departure for them.

  6. avatar

    It is a pretty fucking good year already hasn’t it – there have certainly been some great albums.

  7. avatar

    I have to say, having only heard the last album and this one, I feel like there’s been a fairly major change in sound – so much so that I didn’t particularly like this when I first heard it.

    Obviously, after listening to it properly, I think it’s freaking amazing, but I still hear a fairly big difference between the two albums – something about the move towards a more piano-y, warped ’60s vibe I think.

  8. avatar

    I guess you might be right actually. Through the first few songs I was getting a little tetchy, I suppose. I sat there thinking ‘same old same old’ for a bit, and then the middle of the album really kicked in, and I think that changed my opinion. It seems to represent the biggest progression, and put the subtler changes at the start into some sort of context.

    So yes, maybe a bigger shift than I’ve acknowledged in my review, I’ll certainly accept that.

  9. avatar

    Listening to the previous album I always thought, I bet Taylor Kirk likes Creedence Clearwater Revival’s version of ‘I Put A Spell On You’. And when he played a session for the BBC he then really requested that song being a huge influence on him. And on the new album lots of songs sound as well as if they’re trying to create the atmosphere of ‘I Put A Spell On You’.

  10. avatar

    Holy shit, good call Evi! Now I have to go and listen to Creedence all day.

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