Timber Timbre – creep on creepin’ on.

So I can’t even take credit for that title – it’s the tag on Timber Timbre’s myspace page (aka Taylor Kirk). It totally works, because “creepy” is definitely how I would describe this music, in the best sense of the word. The first track I heard was “Trouble Comes Knocking,” when the ipod released it into the room on the shuffle setting – god bless shuffle. Sometimes you curse it when hosting a party because then an embarrassing tune will come on, and you have to pull the “Heh heh, don’t know how that got on there…” and abruptly change The Moffatts to Probot. Did I overcompensate with that one? (By the way, I have ONE Moffatts tune – and it’s from the album “Submodalities,” their more ‘mature’ effort that failed pretty miserably but I secretly loved. Like every other girl, I liked a boy band or two back in the day). I’ll give you a moment here to stop reading and shake your head in my direction. Anyways. Shuffle! That’s where we were. Sometimes shuffle is awesome for discovering music I legitimately never even knew I had. Which brings us back to Timber Timbre. It came on, and I immediately thought WHAT. IS. THIS. Not only because it sounded drastically different even just from most other bands on the Arts and Crafts label, but also because it was pretty different from everything else in general, too. Its bluesy, brooding folk rock style had me completely enthralled. For one, I find his music incredibly inspiring as a performing artist. One day I wille-mail this guy and say hey, I’d like to collaborate on some performance art with you! Ha. I even considered showing up at one of his shows, and randomly improvising some choreography while everyone around me watched in awe. THEN, Timber Timbre would be so impressed with my performance he would approach me and BAM – new networking/performance opportunity. Ah, fantasy. Somewhere in the middle of these thoughts the realistic part of the ol’ noggin kicks in, and I realize people would probably just think I was crazy or on drugs and ignore me. Or even worse, not give me the *space* I need to MOVE (Fyi, those words have special meaning in the world of dance, hence the emphasis.)
Anyways. Back to his latest self-titled album, which is stunning. It is dark, ominous, and dreamy, with a bare bones instrumentation style that is totally satisfying. One of my favourite tracks, “Demon Host,” is a haunting, melancholy beaut that sends shivers down my spine, especially at the point in the song when he “sees” the demon host – listen to the track and you’ll know which part I’m talking about. “Lay Down in the Tall Grass” is intimate and mysterious, and has a gorgeous, smooth tempo. I just shut my eyes and see myself in an empty field somewhere on a dark night, high full moon, doing a sensual and dreamy rain dance or something. That is either the dancer in me talking, or just Missy the weirdo talking. Or I’ve been watching too much Twin Peaks lately and just want to be the off-beat sex kitten that is Audrey Horne. Anyways, that is how I feel when I listen to this music. Each song conjured distinct images and scenes in my head, which doesn’t happen to me very often. This album really effectively creates its own weird little world, one that I am more than happy to inhabit on a regular basis.

Missy