Timber Timbre (Second Show)

Timber Timbre

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.
“2016 was a very difficult time to observe,” Kirk says. “I hate to admit that normally I express more
sensitivity than concern politically, but I think the tone and result on the record is utter chaos and
confusion. When we were recording, the premonition was that the events we saw unfolding were an
elaborate hoax. But the mockery made of our power system spawned a lot of dark, dystopic thoughts and
ideas. And then it all happened, while everyone was on Instagram. The sewers overflowed.”
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. Kirk explains how Charbonneau and
Trottier came to play more integral roles in the realization of Sincerely, Future Pollution, articulating the
songs’ urgency with an unexpected palette:
“My solitary sketching was left more rudimentary than in the past,” Kirk says. “The prior records, I’d
decided what they were going to sound like. I’d imagined the arrangements when the songs were
sketched. Down to anomalous sounds. There was a vision that was manageable somehow. This album was
much less focused that way, but far more complex. It was complicated and challenging to the end, every
detail seeming somehow counterintuitive.”

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