Categories : Folk + Roots, Miscellany, Music Reviews, Rock + Pop.
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Rating: 4.5 / 5 Reviewer: Greg Hutton |
Timber Timbre, led by vocalist and principle songwriter Taylor Kirk, are somewhat of an enigma in the Canadian singer-songwriter scene. Finding the words to accurately describe Timber Timbre’s music, including their self-titled third album, is indeed a difficult task. A wise man once suggested that if Guy Maddin and Jim Jarmusch co-directed a black-and-white version of Little Red Riding Hood, Timber Timbre would be the soundtrack. The description is fitting, and is certainly more constructive than trying to single out and apply specific genres; doing so would devolve into a nearly-meaningless succession of adjectives (try looking for the gothic, death-country, blues section in your local record store next time you’re shopping).
That the album exists outside of clear genre-association or evident classification adds to its allure. Some comparisons may at first seem apt, but eventually fall apart after further consideration. For instance, tracks such as ‘Lay Down in the Tall Grass’ and ‘Until the Night’ are initially reminiscent of a creepy, theremin and organ-soaked soundtrack to a campy 1960s science fiction film. That said, the songs are too restrained for that comparison and are imbued with a sincerity that is anything but campy.
Similarly, the sparseness of the album and Kirk’s always controlled vocal delivery makes it tempting to call it a minimalist record. This falls apart after realizing that there is frequently more going on in a song than appears at first. This is not a guitar-driven, bedroom-recorded, lo-fi singer-songwriter album (even though it shares the intimacy exhibited by those type of recordings). Instead, strings, keys, harmonica, and subtle percussion are richly layered throughout, allowing Kirk’s vocal stylings to take centre-stage. Most notably, ‘We’ll Find Out’ includes Kirk singing a duet with himself over a steadily rising choir. Interestingly, the singer-songwriter’s greatest weapon, the acoustic guitar, takes a backseat to many other instruments. It is not a loud album, but neither is it an exercise in minimalism; several listens reveal ample instrumentation and ethereal arrangements.
While the album is a great representation of Kirk’s abilities as a songwriter, and is in itself an intriguing, intimate listen, it does not quite live up to a live Timber Timbre show. It’s not necessarily fair to compare two completely different mediums, but it is just so rare that a record consisting of headphone music designed for close, repeated listens translates so well in a live setting. Good as this album is, live performance is Timber Timbre’s greatest strength. If the prospect of seeing a deeply-personal show in an intimate setting is at all attractive, attend a Timber Timbre show now, before they shift to larger venues.
