Friday, November 4, 2011

Timber Timbre - Creep On Creepin' On


Well, time's a-wastin' Guess I'll share and review everything new that I listen to here. My first share is Timber Timbre's fourth full length LP, "Creep On Creepin' On". I'm not going to lie and say that I've heard the previous three albums. I am, however, going to promise that they are moderately "high up there" on my current to do list.
Timber Timbre manage to sound creepy, southern, smooth, cool and filthy all while being accessible to the outgoing ear. Nothing ever becomes too technical, too rash, but it always remains in some way experimental and at the same time poppy. I know it sounds almost like a contradiction, but there are albums such as. The best part is how various the album can be.
The first track, "Bad Ritual", opens the album with an easy bass line, a couple easy clubroom piano keys, and the smooth voice of frontman Taylor Kirk, who, if you stick with, will show you through the roads of "Creep On Creepin' On" without difficulty, coming out of the opposite end with the voice of a cool suit worn only by the elite of the elite - lounge singers and kings with swagger. "Obelisk", the second track, however, Kirk will not be joining us on. I've always though of instrumentals as somewhat risque for more accessible bands, and having one as the second track for their album sends a message: Timber Timbre don't much worry about mainstream attention. Some might see that as admirable. The title track, following, might be something to gaze at if it weren't for what I can only hope is this albums lead single - "Black Water". It opens with Kirk letting the words "All I need is some sunshine" flow out of his mouth like a sauce, except he isn't spitting it because the taste is bad. The keys present on "Bad Ritual" have returned, and so has the swagger from the rest of the band. They're calling cards are easily noticed.
Timber Timbre have made it so that you know it's them when you hear their songs. And I'm sure the development towards such a feat was obvious throughout their previous albums. I feel, actually, sort of late for the party. Four albums in, and I feel like I've found the finished product to what could have been something magical to watch being built. Like I've walked in on Portugal. the Man at "Censored Colors" instead of at "Waiter: 'You Vultures!'" or "Church Mouth".
Not all of these tracks are all sunshine and swamps, though. Specifically, actually, "Swamp Magic" fails to impress me. It instead takes up it's three minutes as the second of three instrumentals on this album. Unalike "Obelisk" and, subsequently, "Souvenirs", however, it doesn't really hold anything in itself alike to the rest of the album. It gives off that atmosphere built over the rest of the endeavor - voodoo feeling, walking in swamps in the Southern Americas and who knows what's there or when I'll have to run - but it doesn't apply the atmosphere to anything. It would be a fine intermission, arriving at the middle of the album and right after a climax as it is, if it weren't for how long it goes. Shortened by half and "Swamp Magic" could fit into the album without disturbing.
It's a sick feeling to know I've missed out on so much, but I don't plan to waste anymore time without these smooth operators.

8.9

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