Supercrawl Presents Timber Timbre at Collective Arts

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Supercrawl Presents
Friday, November 10, 2017 • 7:00pm door, 8:30pm show • 19+
Collective Arts Brewing (207 Burlington St. E., Hamilton)
Tickets: $25 (+SC) advance, $40 door
Available via Ticketfly
Dr. Disc

Timber Timbre has partnered with PLUS1 so that $1 from every ticket goes towards providing indigenous women and their children a safe and supportive environment through the Native Women’s Shelter of Montreal.

Timber Timbre's music has always traced a shadowed path, using cues of the past to fuse the sound of a distant, haunted now. On its fourth record Sincerely, Future Pollution Timber Timbre coats the stark, sensual sound of 2014's Hot Dreams in an oil-black rainbow of municipal grime. It is the cinema of a dizzying dystopia, rattled by the science fiction of this bluntly nonfictional time.

The first single "Sewer Blues" is an ironclad groove marked by plodding, heavy rhythm, cavernous delay, and a backdrop of starry synthesizers. Taylor Kirk's nearly spoken words seem to emit from the underbelly of urban decay, carried on the ominous air of these troubled days. The scene is set with the long cold tones of album starter "Velvet Glove & Spit", and Kirk's warm but mournful opening lines: "I could not release the inspiration until you asked me to / Came at your body relentlessly throughout the year."

Sincerely, Future Pollution stands out in Timber Timbre's catalogue of imagistic records, with Kirk and bandmates Mathieu Charbonneau and Simon Trottier taking a unique approach to Timber Timbre's process of sonic invention. Kirk wrote the songs in late 2015/early 2016, then arranged the music over a "very focused" Montreal winter with the veteran Timber Timbre members.

For the recording, the trio armed with "secret weapon" Olivier Fairfield on drums travelled to La Frette chateau outside Paris, where they looked to the studio's array of archetypal synthesizers for the flesh of the songs. Be it the freedom of recording abroad, or the revelation of these unexplored instruments, Timber Timbre found a release from artistic constriction and created its most daring work yet.

Perhaps for the first time, Timber Timbre indulged its alleged "decade drift" from the self-titled record's 50s doowop, to Creep On Creepin On's oblique 60s folk, and Hot Dreams' 70s caprice allowing the tools to personify the songs. A blend of the album's midapocalyptic setting and its idyllic recording, Sincerely, Future Pollution is a romance of neoteric machines and dark, futuristic hues: with promise as beautiful as it is unsettling.

The result is a newfangled sound with the plastic, cinematic tint of 80s avarice. "Grifting" struts, literally grifts, a deep, synthetic funk, with brash determination never before heard in Timber Timbre's earthy catalogue. Kirk's lyrics, in his unmistakably chilling croon, show a palate for the acridity of crime ("Pulling off a fast one / Riffing off the last one / Reeling in the big one / Fished in fished in / Grifting Grifting Grifting") before pivoting into the gilded chorus of a haloed, Hollywood bedroom scene.

"Moment" glints with dazzling synthesizers hiding heartbreak with the mastery of Nick Cave's most elegant dirges before devolving into a fray of shredded guitar. The title track growls with lowend urgency then combusts in a cloud of chiming sequencers. "Western Questions" lurks like the exotic, deserted remnants of Hot Dreams' "Grand Canyon," while "Bleu Night" is electrified with vocoder verses and the poltergeist of seven billion handheld devices.

If each Timber Timbre record is framed in genre play, on Sincerely, Future Pollution, the components are the most askew: the glam of Roxy Music; the plaintive pop of Talk Talk; the disquiet of Suicide; the invincibility of Talking Heads; the haunting This Mortal Coil. All (and more) unlikely references are present, tethering Timber Timbre's experimentation to points of familiarity. The range is an acute angle from New Age to Popular French Disco Revival like Daft Punk and Air, filtered through Timber Timbre's painterly imagination.

Boyhood (highway 7, Ontario) is the project of Belleville-born multi instrumentalist Caylie Runciman. Her recently completed sophomore record, Bad Mantras (set for release in 2018), is the product of a few heavy years, filled with rhythmic, melodic, repetitive, mantra-like vocals.

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