Where: Full Time Hobby
So we reach the end of March. 2014 is already a quarter of a way through it’s life and while that realisation scares me a little, it has already given me many memories that I could keep forever or give away as soon as possible but I’m thankful for them. While I wish I could travel back in time and relive when I got to kiss you instead of being in the present day wishing to not be in the present day at least it means the new Timber Timbre record is out. Ever since the release of the lead single Hot Dreams I have been desperate to hear more from the project of singer-songwriter Taylor Kirk. The title track’s charming momentum casually ushered in by jazzy piano chords and swaggering horn finales while lyrics still retained the underlying-ly-obvious sense of unnervingness that made Creep On Creepin’ On so mysteriously appealing just made me want to hear the rest of the new record immediately.
Beat The Drum Slowly eases the listener into the uneasy world of Timber Timbre with an eerie, soft synth trickling it’s way into the airwaves before some strums of the acoustic guitar join in to add a little rhythm to the mix. The reverb-heavy vocals of Taylor Kirk sound a little more 50’s with the confidence of Elvis seeping through his voice engaging the listener to hang on to every word he sings. This transition from experiemental pop into a more matured, layered rock and roll sound suits Kirk’s voice and fits his disjointed songwriting perfectly. This opening track does little to build up energy, but definitely brings in a lot of grooves that makes it incredible easy to get wrapped up in this halloween dream.
This shift in sound is easily showcased in the two singles Hot Dreams and Curtains!. The title track instantly hits the listener with a wall of abrupt jazziness which crumbles to reveal a miminalistic but stark instrumentation that allows Taylor Kirk’s lyrics to really shine. In some cases they’re weird (I wanna dance with a black woman) and in other cases they’re really quite lovely (I wanna be a champion in your eyes). It’s this schizophrenic mindset that allows Timber Timbre to remain mysterious and it really pays off when you have people like me gripped to the ground anxiously listening to what other bizarre or lovely lyrics come next. Curtains! Is the beginning of the heavier set of tracks on Hot Dreams with some sharp guitar chords and a constant drum beat that pounds the rhythm into your head as it moulds itself around the pop formula effortlessly. It’s a very sexy, groovy listen and I cannot get enough of it.
While Hot Dreams doesn’t necessarily stray too much from it’s formula it does remain entertaining and certainly knows what works. The rhythm is kept at the same tempo, the instrumentation is never packed with too much at once, but there’s always a sense of arrogance or confidence among the air which kind of comforts me in believing that that’s okay. The album does let loose on the instrumental Resurrection Drive Part II but it’s clear that it’s home is in the 50’s influence, and when you’ve got songs as nicely crafted as Grand Canyon and The New Tomorrow it’s not a big deal that we don’t get something that’s let loose outside of the couple instances on the record, because it definitely has the power to make us listeners let loose.
Hot Dreams is definitely another very enjoyable album from Timber Timbre. I absolutely adore the reworked sound and I think it’s perfect for Taylor Kirk’s voice. The album does succeed at delivering two big singles in Hot Dreams and Curtains! Which do a fantastic job of adding a bit of accessibility to the record, while still retaining the slightly creepy traits of Kirk’s lyricism. The deeper cuts are just as great with truly astonishing moments such as the strings-angelic vocal finale of the more-threatening songs in Run From Me, the entire western badass feel of Bring Me Simple Men, and of course the horn section on the title track. Hot Dreams is a tremendous record and one that was certainly worth the wait. I don’t want to time travel no more.
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