Album Review: Creep On Creepin' On by Timber Timbre

Of all the acts called indie-folk, Timber Timbre has some of the darkest and strangest musical roots. Creep On Creepin’ On’s title is no mistake: Taylor Kirk and company take inspiration for the follow-up to their Polaris Prize long-listed self-titled album from séances, witchcraft, murder ballads, swampy rockabilly slow dances, and horror movies. Yet within this black-on-black palette, Kirk finds fine shadings of meaning and mood that keep these songs from being too monotonous, self-serious or campy.

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TIMBER TIMBRE play Trinity-St. Paul's Church April 8. See listing. Rating: NNNN Taylor Kirk blew a lot of minds two years ago with his self-titled third album as Timber Timbre. His spooky blues folk sounded like an undead Roy Orbison serenading a ghostly girlfriend in a graveyard at midnight, but ….

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Just as the most effective bollocking is employed with a controlled, forbidding tone, so this Canuck trio of Mika Posen, Simon Trottier and Taylor Kirk know how to carry out a quiet threat. They could turn even the hardest kids at school into pissy wrecks with the elegant dread-heart blues of this, their fourth album.For as soon as Kirk whispers “[i]I found depravity convinced me, I may no longer care[/i]” on the opener, [b]‘Bad Ritual’[/b], a fog descends and these glorious piano-led songs about infatuation – all sawing strings, lumbering bass and clang and twang – turn more gothic than Angelo Badalamenti’s dreams.Chris Parkin[b]7/10[/b]Order a copy of Timber Timbre’s ‘Creep On Creepin’ On’ from Amazon .

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Timber Timbre frontman Taylor Kirk's got style, no doubt about it. His rich croon carries a bit of Elvis Presley's curled-lip sneer and touches of Nick Cave's matter-of-fact rumble, and his dark-hewed retro-rock tunes are spare and slinky; should David Lynch ever helm a "Mad Men", Kirk and company could easily provide the score. Timber Timbre's latest, Creep On Creepin' On, is a dapper set of darkly atmospheric doo-wop and blues but possessed with a style all its own.

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Can we finally officially consign short, ‘atmospheric’ instrumentals to the same bin we toss skits from rap albums in? There’s usually some novelty value to both the first few times, and every so often there’s an exception that proves the rule, but generally they don’t work. They don’t work on their own, and they don’t even really work in the context of the albums they come from. In the ‘old days,’ we’d hit the skip button.

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If Lucifer were to put on a music festival in celebration of his bad-assed self, who do you think would headline? Doubtless a certain Mr Osbourne - Ozzy not George - would put in an appearance to mark a lifetime spent dedicated to this world’s forbidden pleasures. I’d also like to think the Lord of the Underworld would honour one of his chief arbiters of the cultural apocalypse by putting on a stage solely dedicated to the Syco Music roster. Doubtlessly though, in the most dank, decrepit and outright harrowing tent to grace an event to tribute Satan, Timber Timbre will be performing the remorselessly bleak Creep On Creepin’ On in full.

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Canadian blues-folk outfit Timber Timbre likes to tell it how it is. Their latest effort, amusingly entitled Creep On Creepin’ On, is just that — creepy. With its sultry basslines alongside Taylor Kirk’s deep, slightly reverberated vocals and occasional chamber pop interludes, this album is haunting in its composition and content. Opening track “Bad Ritual” sets the stage with a ghoulish feedback groan amidst an unnervingly constant piano beat, inciting a sense of suspenseful paranoia as the listener waits for something to give.

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