timber-timbre-creep

The nod to Dylan in the title is misleading; the phrasing of the title, however, is not. There is a creepy and sinister tone to the musicianship here that grumbles in the bowels like a volatile volcano waiting to erupt. This is brought to the surface by the peculiar warble of Taylor Kirk’s vocals that float between fragile humility and eerie elocution. The piano keys that strike are mournful and omnipresent; powerful in a manner that occasionally shares similarities to the bombastic effect used in some hip-hop. The production is precisely executed, but the result is inviting instead of distancing, and the world of which we enter is strange but undeniably beautiful, riddled with tangible oddities and wistful soundscapes. Once you’ve stepped in it’s difficult to find your way out, but considering the eerily intriguing qualities of this fourth album, it’s no bad thing.

By Daniel Dylan Wray

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