Stream the group’s sixth album ahead of its release next Friday
Note: NPR’s First Listen audio stops after the album is released. However, you can still listen with the Spotify or Apple Music playlist at the bottom of the page.
Wood stamp: Sincerely, Future Pollution
Courtesy of the artist
Courtesy of the artist
When Taylor Kirk and his Timber Timbre acolytes left for France a year ago to record their latest album, Sincerely, Future Pollution, they imagined a sound that you could dance to, that deserved to be celebrated. For more than a decade, the Montreal group – led by Kirk, who does much of the writing and recording – explored the gnarled and dark corners of rock, evolving from beams of sun-bleached cabin (Wood stamp) to 70s country music (Hot dreams). None of it was exactly what made you tremble, other than a narcotized swinging in the corner of a plywood bar. Sincerely, Future Pollution neither is it. But this might not be the time to dance.
“I got the idea that we could do something fun. Which… we can’t,” Kirk laughed in a measured whisper from a phone in his rehearsal room in the east. Montreal.
Instead of, Sincerely, Future Pollution is another window into Kirk’s gently clouded sensibility, this time filtered through holistic collaborations with the supporting cast of Timber Timbre, keyboardist Mathieu Charbonneau and guitarist / bassist Simon Trottier. The trip is accompanied by a multitude of electronic prototypes that the trio found in this French studio where they recorded their sixth album. “We were using a palette that I didn’t think was ours,” Kirk said. These unknown instruments give the album a Reaganist patina, a vintage sound that seems too relevant these days.
Sincerely, Future Pollution deals more directly with this discomfort on “Western Questions”, which opens with a fast guitar melody before sinking into a burlesque swoon. Kirk exhales: “International witness protection / By mass migration / Imminent land surrender. Tucked away safely / At the counter of a luxury liner / With a noose in his hand.” It’s evocative of urban failure and our modern dilemma of smooth disbelief. It ends, improbably, with a festive drum bridge worthy of Phil Collins and a guitar hook as indelible and catchy as Hall & Oates could hope.
“Moment” is perhaps the most beautiful and touching love song that Timber Timbre – a band that has always had a knack for picking up frustrated lamentations for those who are not shared – has ever written. It opens, after a wash of those chronologically frozen synths, with a buried bass and a questioning drum line, while Kirk speaks quietly: “Timing’s off / And all is lost / And I know it. / The essences disappear / And with each dose the price / Of a memory. ” The frustration of feeling unworthy, of loving what you have in your hands despite this shame, is shattered by the end of the song, a perpendicular tantrum ragged with sheer frustration. (This character in “Moment,” questioning what he deserves, his agency, and the means to keep or throw him away, is an ongoing presence in Kirk’s work.)
Sincerely, Future Pollution is a document stirred for surreal times. Where Timber Timbre previously attracted us in his stealthy visions of the winter woods or 16mm strip clubs, this time Kirk is drawn to us. The group seems, understandably, to be wary of the overthrow.
Aapki awaaz lecture ke liye bahut adapted hai “which, roughly translated, would mean that your voice is eminently suited to song reading. We hear this statement from time to time, especially in the ever popular reality shows where famous judges pontificate against the background of the starry-eyed competitors.
What are the characteristics of voice and musical sensitivity that make a playback singer successful? Have they remained unchanged during the decades in which film music dominated the musical tastes of the masses? I guess the answer to this question should come from the music pundits of the film industry, but I’m trying to present the humble observations of an outsider.
While the history of playback singing in Indian films is still a few decades before it reaches the 100-year mark, we have a record of approximately 82 years of film music to study and analyze.
The archetype of the playback voice to which our judges refer today has nothing to do with the voices of singers in the early days of talking cinema. Judging by the repertoire presented by contestants in most television shows, few mimic the singing styles of the legendary Kundan Lal Saigal, or Khurshid and Suraiya. It can be said that the benchmark for vocal playback is firmly rooted in the era that saw the rise of big playback stars like Lata Mangeshkar, Mohammed Rafi, Asha bhosle, Mukesh, Manna Dey and Kishore Kumar, among others. In a sense, it was the voices that set the standards and parameters used today to assess whether or not a singer’s voice is suitable for reproduction.
What are these parameters?
The only quality common to all these voices is their ability to assume the identity of different actors staging various situations in the story of the same film. They are therefore voices that express and represent a myriad of emotions and responses. An actor in an Indian film sings and dances in every conceivable situation – in joy, in sorrow, in the throes of love, lust, on the streets, on the rooftops, just about anywhere . And the off-screen sung voice of the playback singer becomes for the duration of the pieces the sung voice on the actor’s screen. Lata Mangeshkar’s voice, while retaining her unique identity, becomes the voice of Waheeda Rehman as she sings Rangeela Re in Prem Pujari, or Aaj Phir Jeene Ki Tamanna Hai in Guide. And the same voice becomes the voice of a pious Meena Kumari when she sings Lau Lagaati Geet Gaati in Bhabhi Ki Chudiyan. This ability to subsume one’s own identity into that of the actor is an essential quality to make a good playback singer.
Most of the female singers in the Indian film industry have light, high-pitched voices. The throaty, heavier female voices have, for the most part, not found success in the past five-six decades of film music. The reasons for this could be multiple. The standards set by Lata Mangeshkar and her brilliant star sister Asha Bhosle, both gifted with high, expressive vocals of enormous reach and the ability to negotiate the most complex melodies, shapes and styles effortlessly, have influenced so much the following generations of playback singers. that they consciously modeled their voices on the Mangeshkar siblings. The inclusion of singer-songwriter duets also required voices comfortable singing in tones that allowed the singer’s voice to appear more delicate and feminine in contrast. You couldn’t have a Big Mama voice in a duet, reducing the male singer’s voice to a puny shadow.
In addition, the orchestration of movie songs often used instruments that sounded best in the higher tones. It could, of course, be argued that an accomplished composer could create a duet for a heavy, husky female voice and a regular male voice, and that an imaginative arranger could score the instrumentation accordingly, but that’s a challenge. that composers of film music have to address. refused to take. The archetype of the girlish voice is so deeply ingrained in film music that even when actors like Tanuja, with her husky, smoky voice, Rani Mukerji, with her sandpaper stamp, or the surly Hema Malini sing to the screen, reading to them is still in the clear, ringing voice that has come to represent aural femininity. The good girls of Indian cinema could only be endowed with clear and pure voices. It was only the vigorous vampire whose voice could thicken with vice.
But times are changing and so are perceptions. The scorching number is no longer just for the siren or the trail. Today’s successful actresses in leading roles have to pack an item number, and as a result, successful playback singers have to dub a generous portion of steamy item numbers. The voices are still high-pitched, but more feminine. Instead, they practice ooh and aah, in a cheeky or seductive way.
Comments on the male of the species are reserved for my next column.
This is the second in a series of Shubha Mudgal chronicles on Hindi film music.
Read also | The previous columns of Shubha’s living room
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New York natives, Timbre Coup and Consider the Source gather to celebrate the New Year with a New Years Eve extravaganza at Red Square in Albany, NY on Monday, December 31, 2012. Tickets can be purchased in advance for $ 15 or $ 20. at the door and are available here. For more information, visit the Red Square website website. Red Square is located at 388 Broadway, Albany, NY. The phone is (518) 465-0444. Doors open at 8:00 p.m. Timbre Coup has become a cohesive force to be reckoned with. Often compared to bands like King Crimson and Umphrey’s McGee, this prog (or “improg”) band also has a very dancey side to it. “We want people to pay attention to the details and complexity of our songs, but we love to make people dance. Said drummer Matt Pickering. Progressive rock mixed with madness, Composition mixed with absinthe, Atonal meets resolution, Aggression combined with submission, Mayo meets Ketchup, TROPICAL SUNBURN IN A GOOD WAY. For more information, visit the official Timbre Coup website website. Sci-Fi Middle Eastern Funk, Consider the Source has a sound that is a mix of Middle Eastern scales, psychedelic jams, and a hard rock rhythm section. Consider The Source’s new album, That’s What’s Up, which speaks to the core beliefs and values of band members regarding their art and expression. They continue to forge new sounds and unique song structures, fusing alien time signatures with exotic rhythms and refining a form of dialogue-based improvisation where rhythms are words, notes are feelings and dynamics convey. intensity. The trio have taken this music around the world, driven by an intrepid desire to be themselves and deliver their sound as honestly as possible in the sheer rawness of the “moment”. For more information, visit the official website of the source website.
Saturday July 28, 2012 | 7:30 p.m. | Kalamazoo Natural Center
KALAMAZOO, MI –
A busy audience at the Kalamazoo Nature Center auditorium hosted Thursday night’s launch by
The Arianna String Quartet, currently in residence at the University of Missouri-St. Louis – composed of violinists John McGrosso and Julia Sakharova, violist Joanna Mendoza and cellist Kurt Baldwin. Each one testified to a nice timbre and a refined musicality.
Playing with their characteristic verve, the group performed two contrasting works by famous composers not particularly known as giants of the string quartet repertoire. However, heard live, in “prisoner-free” mode as here, the quartets of Tchaikovsky and Debussy aroused inordinate interest and pleasure.
The opening was Debussy’s astonishing String Quartet in G minor, op. 10 (1893) – his only work in this genre. Players were clearly inspired by the fresh music of Debussy, freeing up Debussy’s individual voice to be heard at its best. The cascading notes remained in the foreground near the beginning, capturing the intoxicating momentum of the passionate score.
The crisp plucked strings stood out in the second movement, with McGrosso’s main melody keenly declaring on the accompanying pizzicatos. The best blend of the evening was heard in the third movement, when luscious harmonies seemed to rise like an alloy mist. Here, too intense a passion was expressed by the magical harmonization of different instrumental combinations.
Debussy found his truest voice in the final movement. There, players broke away from a ladder-like format, breaking free-fall through a myriad of keys, but bound by no tonic keys. The effect was uplifting and liberating. The enthusiastic reactions of the audience validated the success of the group’s performance.
Of Tchaikovsky’s three string quartets, the last, No. 3 in E flat minor, op. 30 (1876), left the deepest mark. Although the composer was not experimental, he showed no fear of dissonance at the start of the third movement – the best performed section of all to my ears.
By playing with mutes, the instrumentalists localized Tchaikovsky’s Russian tonal language. The cello established a steady rhythm as beautiful Russo echoes filtered through the melodies above.
The third movement, “Andante funebre”, turned out to be an alluring, melodically and harmonious climax, proving to be the most glorious of all. Elsewhere, Tchaikovsky’s play might seem a bit weary, pointed out by urgent McGrosso, both literally and figuratively. Yet the brilliance of the work has never been obscured.
A COMMUNITY center in north Melbourne, a seaside resort in Tasmania and a humble Victorian country house were among the six winning projects of the 2011 Intergrain Timber Vision Awards, announced last week.
The awards celebrate the role wood plays in today’s Australian architecture and design.
In the commercial categories, the winner for the best commercial exterior was Creeds Farm Living and Learning Center in North Epping by Tandem Design Studio, and the best commercial interior was awarded to Saffire in Coles Bay in Tasmania by Circa Architecture.
In the residential categories, Hills Plains House in Metcalfe in Victoria by Wolveridge Architects was named Best Residential Exterior, and Queenscliff Residence by John Wardle Architects won the title of Best Residential Interior.
Weian Lim, 26, of Matt Gibson Architecture + Design, won the first Young Architect category for his contribution to the design team for a residence in the Melbourne suburb of Armadale.
The jury, which included architects Nigel Bertram and Susi Leeton, and Jason Anderson of DuluxGroup, said each project was distinctly different.
However, “a winning force shared by all was the thoughtful way in which wood was incorporated into each design to add value and showcase the versatility of the material.”
Among the winners in the commercial category, Mr. Bertram said the pragmatic design of the Creeds Farm sustainable living and learning center and the intricate geometry of the luxurious Saffire complex showed that wood could be used effectively at any scale. .
Among the residential projects, Ms Leeton said: ‘We have been moved by the subtlety and honesty of Hills Plains House, while Queenscliff Residence was to us a model example of how complementary materials can be combined to create a harmony.
Zombies and magpies aren’t the only things to discover in Timber Timbre’s playful and spooky “Lonesome Hunter”.
/ Laura Ramsey
/ Laura Ramsey
Zombies and magpies aren’t the only things to discover in Timber Timbre’s playful and spooky “Lonesome Hunter”.
/ Laura Ramsey
Song: “Lonely Hunter”
Artist: Timber Timbre
CD: Creep on Creepin ‘On
Few contemporary indie-rock bands are more in touch with their creepy side than Timber Timbre. Armed with old tape recorders for the making of their latest album, the band carefully tweaked the vocals and instrumentation to give the record a distinctly spooky blues sound, even going so far as to schedule a night in their recording schedule to drop a few. good shouts. .
Inspired by the title of a Carson McCullers novel, “Lonesome Hunter” opens with a howling violin and a barrage of disturbing scenarios, presented in Taylor Kirk’s echoing baritone. But there’s more to the song than its haunting effects, sinister lyrical references, and ghoulish voice. Under Kirk’s spell, zombies and witchcraft become metaphors for complex human emotions like love and desire.
But, to answer the song’s disturbing question, he is not blackbirds forever more. There’s a lightness that lurks just below the surface, waiting to be exhumed – just listen to this playful piano melody. It’s hard not to laugh with the title of Timber Timbre’s latest album, Creep on Creepin ‘On, and that’s exactly what Kirk and company had in mind.
Timber Timbre frontman Taylor Kirk has style, there’s no doubt about it. His rich croon carries a bit of Elvis Presley’s curly-lip sneer and touches of Nick Cave’s down-to-earth growl, and his dark retro-rock tunes are understated and slender; if David Lynch ever led a “Mad Men,” Kirk and his company could easily provide the sheet music. The latest from Timber Timbre, Creep On Creepin ‘On, is a dapper doo-wop and blues ensemble with a dark vibe, but with a style of its own.
Creep enabledThe stark, dark swing of is almost as distinctive as Kirk’s voice. With its emphasis on empty space and its penchant for acoustic instruments, there is a twisted proto-rock’n’roll feel, like the Everly Brothers if Susie had never woken up. There is also a grizzly-like balance between space and swivel parts, although Creep enabledthe tone of is much darker than that of Veckatimest. These songs blend and sway past the strings, and the saxophones (the latter from current sideman Colin Stetson) inevitably begin to swarm, sending bold streaks of color through the black and white filter of Kirk’s night creep.
Strange and surprising, these bursts of cacophony offer an improbable counterpoint to the stripped tunes of Timber Timbre. While they are meant to accentuate the desperation at the heart of these songs, the two sides clash as often as they complement each other, with the imposing and loud arrangements sometimes overpowering Kirk’s melodies. But when it all comes together, it’s mind-blowing; climax “Woman” begins with her honking, downgrades into an insistent croon, then ascends again to close, moving smoothly through her extremely disparate sounds. But an ardent ballad like “Lonesome Hunter” would have gone very well without the 30 seconds of orchestral madness which close it; The same goes for the din that ends “Do I Have Power” or the instrumental midsection coming out of nowhere from the “Bad Ritual” opener.
At their strongest, these dissonant explosions nearly oust Kirk from his own record; too bad, because his biased positions on the romantic obsession are a worthy focal point. While Timber Timbre is to be commended for trying to bring these disparate sounds together, they would fare better with fewer instrumental freakouts, leaving more room for Kirk’s twisted love stories gone awry. As elegant as Kirk’s songs may be, they are not always well suited by Creep enabledcontrasting patterns.
Timber Timbre is happiest when visually represented by spooky, blurry, and otherworldly images that evoke their music. But as their popularity grew, demands like photo shoots increased, so the group took a break from rehearsals to reunite in the faded 19th-century glory of Toronto’s Great Hall for a new photoshoot. Everyone is gracious, but no one is particularly comfortable. Frontman Taylor Kirk tosses his shirt and he and lap steel player Simon Trottier seek the unspoken approval of violinist Mika Posen before posing in front of a slate backdrop. The sharp focus of the scene elicits an “oh my god, this is painful” from Kirk. The beautiful new album from Timber Timbre Creep On Creepin ‘On will see the media gaze come down harder than ever, asking again and again for a glimpse of how an enigmatic and highly personal project has grown and diversified through its metamorphosis into a full-fledged band. Timber Timbre is having growing pains, but they’re all in the same boat.
The photoshoot is not the only source of perplexity today; Rehearsals are also a new concept for Timber Timbre as they try to translate their new record live. Kirk remains at the forefront as a supernatural storyteller, but the group’s finely nuanced experimentation is like a kaleidoscope of gray. Although Creep On Creepin ‘On suggests a prom night in hell circa 1956, the influences of weird film composers Angelo Baladamenti and Ennio Morricone are more pronounced than ever. “Suddenly I feel a certain pressure to recreate the sound of this record to some extent,” Kirk says, typically introspective. He is not openly worried but his apprehension is clear. “A lot of these songs are really weird to play. We’re just trying to find time to sit down as a band and play these songs. I don’t know how we’re going to do that.”
Mika Posen and Simon Trottier joined Timber Timbre in 2009; she comments “it’s still quite new for [Kirk], play with a group. The last record was still mainly Taylor’s project and was composed as a live band thereafter. With this album, it was the first time that we sat down together and tried to figure out how to do things for a live show. “
She and Trottier talk about Kirk in a protective way, respectful of the strength of vision attached to Timber Timbre as a solo project. Although guest musicians have graced most of Timber Timbre’s records, the essence has always been Kirk’s personal vision, which evokes the many moods of rural, if not necessarily beautiful, settings. Comparisons have been rightly made with the disturbing natural abstractions of painter Andrew Wyeth and author Flannery O’Connor. Kirk grew up near Brooklin, Ontario, and although not a farm boy, he admits an affinity with the natural themes so common among Canadian singer-songwriters. “The thing of nature,” he said impassively. “Rural spaces can become really romantic. For me, it goes back to my childhood, then living in the city and missing that space. I think a lot of people who are in Toronto who are not from Toronto [miss it too]. “
Kirk spent his early years in Toronto (and has since moved to Montreal) as a drummer and guitarist in various bands without having the urge to create his own. Timber Timbre was born after a long time in a cabin in the woods. “When I first started writing, I was watching recordings of old folk music and kind of imitating that composition. I tried to get away from that kind of thing.” His first album, 2006’s Cedar shakes, gave a deeply introspective but not melodramatic soul whose music had a strong back porch vibe. Returning to Toronto, Kirk found himself associated with a collaborative scene of recombinant players concerned with nature and spirituality that would produce Ohbijou, Ghost Bees (now Tasseomancy), Forest City Lovers and most notably Bruce Peninsula.
The Bruce Peninsula is where Daniela Gesundheit first met Kirk. She is the lead singer of Snowblink, which will be touring with Timber Timbre this spring. “I moved here in 2008 from California and [Bruce Peninsula] were an immediate portal to the Toronto community. We had all gone to a chalet to work on songs, ”she recalls. Kirk, she said, “was a little shy, but we had a good relationship from the start. “
Gesundheit describes the growing mystique of the character of Kirk’s Timber Timbre, which was then beginning to inspire fiery admiration from friends and fans alike. “He really listens to his surroundings. Some people dance, some people have a little tears in their eyes, often people are totally fascinated and really, really present, which is really rare. a show and they dream. This is not the case. with him. “
Timber Timbre’s self-titled third album in 2009 saw an expansion of its sound and popularity. The producer of the album, Chris Stringer, says: “As a friend, I lobbied for a long time to make this album, about a year and a half. We spent three or four days in the studio, and I think each song was to take one or two. I have pretty high standards, but it was amazing how much that was coming from him. He just has this thing that we all try. ”The odd organ s ‘flourished, Posen’s subtle and insistent drum parts and quietly dissonant violin represented a big leap from the laid-back sparseness of previous endeavors. Kirk’s voice continued to gain character comparisons with Elvis, Leonard Cohen, and Gene Vincent, and he often reflected on the perceived retro-authenticity of his approach. “I’ve never really been interested in getting too ‘authentic.’ But for me, it’s almost like preserving certain aesthetics that are in all the music that I love and that interests me.”
Arts and Crafts picked up the distribution record, and gradually a more comprehensive performance set emerged. He had toured separately with Posen and Trottier, then the trio formed by accident. “I went with Taylor to Montreal to do a show at La Salla Rossa opening for Torngat,” recalls Posen. “This is where Simon and I met: on stage without rehearsal.” Each member praises the alchemy of live unity, which brings depth and spontaneity to Kirk’s songs. Posen and Trottier both have backgrounds in improvisation scenes, and their contributions belied Timber Timbre’s stereotype as retro music.
Wood stamp, according to Kirk’s estimate, has been released four times on different labels and in different territories, and its popularity has skyrocketed after the use of “Magic Arrow” in television series breaking Bad. “The first year of touring, we were together every second of every day,” says Posen. “We were sharing a hotel room.” On stage, the method was the same, exploring and reconstructing the repertoire without too much formal discussion or rehearsal. However, some behind-the-scenes roles have emerged. Kirk and Trottier had been friends for years and shared a family of musicians; it was a little different with Posen. “I’m definitely the optimist who fights negativity every day,” she says, choosing her words carefully. “I’ve never felt more like a girl in my life than playing with this band. I find myself making sure people ate. I’m always the one with the snacks and water. Sometimes, It touches me in some situations, but I feel like I kind of naturally fell into it, it’s part of the dynamic. I have mixed feelings about that, but it’s okay for now. “
When is the time to do Creep On Creepin ‘OnKirk needed to articulate the respective roles more precisely. The songs sprouted over two years, spurred by a residency in Sackville, NB in June of last year. The final product credits “Timber Timbre” as a writer, arranger and producer. “It was Taylor’s solo project before we started playing with him,” Trottier says. “I try to bring my ideas to the arrangements, but Taylor writes all the songs.” Posen adds: “I prefer not to be the leader. I contribute, but I am not responsible for the record. I am totally happy in this role.”
Kirk acknowledges that “writing is always a lonely process, it will always be something I do on my own, usually in a sort of isolation.” However, thanks to the closeness of recent years, Posen has a deeper understanding of Kirk’s obsessive and paranormal lyrics. “I feel like I can guess what the songs are about now, as opposed to previous records where I had no idea. I think you have to spend so much time with him and know what’s going on in his life to find out what they’re about because it disguises things really, really well. They’re relationship songs for sure, and maybe not even so disguised. “
What has changed considerably is the music. There are times when Creep On Creepin ‘On threatens to abandon the minimalism of earlier records. The dissonance was seriously amplified, with Trottier’s lap steel providing an alien presence at every turn, and Posen’s Nelson Riddle-meets-Stravinsky curd string arrangements saw through the listener’s synapses. There’s also a tighter approach to rhythm anchored by Kirk’s low-key kit work, which makes the rock songs even stronger. Other essential contributions are made by saxophonist Colin Stetson and keyboardist Mathieu Charbonneau. Mark Lawson (Arcade Fire) helped record and mix the album. Put it all together and you get… hip-hop? No kidding. Just try not to nod your head during the opening of the “Bad Ritual” album.
“I felt really strong for ‘Bad Ritual’,” Kirk said. “I didn’t have a clear idea of how this song should sound, and I thought it was really well done. I’ve always been really into this kind of production and sensation; like Wu Tang and Raekwon or the early White Stripes. I’ve always wanted to make music that sounds like it’s been sampled or tinkered with. “
Timber Timbre is always indelibly identified with Kirk. He is aware of the tension between needing his own space, working in a group and the increased demands of his time. Success “is a problem, but it’s a good problem to have,” he argues. “I would love to be [recording] All the time. I don’t like playing and touring. I mean, I love it, but I don’t really need it all the time. “
The integrity of Timbre Timbre still requires some fuzzy edges; for the lonely mystery to bubble to create inspiration for Kirk. His friend Gesundheit knows him well. “His words are the epitome of bare honesty, they are so shrewd and intelligent. They have a bit of a disguise, his words have masks.”
Four albums on the Timber Timbre experience, and having to delve deeper into himself and then share it with collaborators and audiences, Kirk says: I’ve always really struggled with that. I hope it’s more fluid and natural. It’s still quite laborious for me. But it is okay. “
It has been two years since the people of Toronto Wood stamp have dropped their self-titled Polaris Music Prize long list album. Meanwhile, fans eagerly awaited the cast to deliver another set of low-key spirituals and haunted blues house. But the wait is finally over with the announcement of Timber Timbre’s new record with a well-chosen title, Creep On Creepin ‘On.
Serve the group’s own Arts and Crafts beginnings (Wood stamp was posted on Out of This Spark before being reissued on Canadian Heavyweight), Creep on Creepin ‘On presents ten songs that “incorporate rich and varied melodies, affecting lyricism and evocative vintage instrumentation”.
A press release explains that frontman Taylor Kirk composed much of the album two years ago before polishing the tracks during a residency in Sackville, New Brunswick, in June of last year. The band recorded these tunes both in the Montreal Treatment Room with Kees Dekker and in a converted church studio with Grammy nominee Mark Lawson (Arcade Fire).
The album is said to expand the band’s sound with throaty moans (“Bad Ritual”) and a “weird doo-wop” sound (“Lonesome Hunter”), but as Timber Timbre’s style may evolve, Kirk explains. that their musical intentions are the same as ever.
“The idea is to make music that we love and therefore take the risk of sounding like all the music we’ve ever loved, all at once,” Kirk said in a statement.
Creep On Creepin ‘On releases April 5 on Arts & Crafts. The group will celebrate the release with a quick tour of Ontario and Quebec, with a few dates in the US for good measure. See the dates below.
Creep On Creepin ‘On:
1. “Bad ritual” 2. “Obelisk” 3. “Creep On Creepin ‘On” 4. “Black water” 5. “The magic of the swamps” 6. “Woman” 7. “Too old to die young” 8. “Lone Hunter” 9. “Do I have power” 10. “Memories”
3/24 Longueuil, QC – City Theater * 3/25 Sain-Jean-sur-Richelieu, QC – Cabaret-Theater du Vieux-Saint-Jean * 3/26 Saint-Thérèse, QC – Lionel-Groulx Theater * 4/8 Toronto, ON – Trinity Church 4/9 Ottawa, ON – First Baptist Church 4/11 Boston, MA – Brighton Music Hall 4/12 Philadelphia, PA – World Cafe Live 04/13 New York, NY – Joe’s Pub 4/14 Brooklyn, NY – Glasslands 4/16 Montreal, QC – Corona Theater