{"title":"Integral 24072026","description":"","products":[{"product_id":"timber-timbre-timber-timbre-smoke-clear-marble-vinyl","title":"Timber Timbre - Timber Timbre [Smoke \/ clear marble vinyl]","description":"\u003cp\u003e\u003cspan\u003eFormat: LP\u003cbr\u003eCatalogue No.: FTH101LPS \/ FTH 101LPS\u003cbr\u003eBarcode: 5060626464087\u003cbr\u003eRelease Date: 24 Jul 2026\u003cbr\u003eGenre: Folk, Blues, Rock\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSinger-songwriter Taylor Kirk garnered attention is his native Canada by delivering a dark, mysterious combination of folk, blues, and indie rock that was both contemporary and ancient-sounding on this self-titled album from 2009. It opens with the unadorned guitar-and-vocal 'Demon Host', but adds increasingly more complex, yet still spare, production elements as the record progresses. 'Until the Night' features tinkling autoharp, garage rock organ, and a languid oriental melody, while 'Trouble Comes Knocking' is driven by sleazy strip-club saxophone and a throbbing bass drum beat. Throughout, Timber Timbre sounds like the soundtrack to some great lost '60s b-movie, at once colourfully original and creepily unsettling.\u003cbr\u003e \u003cbr\u003e1. Demon Host\u003cbr\u003e2. Lay Down in the Tall Grass\u003cbr\u003e3. Until the Night is Over\u003cbr\u003e4. Magic Arrow\u003cbr\u003e5. We'll Find Out\u003cbr\u003e6. Get Low\u003cbr\u003e7. Trouble Comes Knocking\u003cbr\u003e8. 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The elements – Kirk’s singular intonation, quavered in slow, low register, over stark orchestration – combine in haunting resonance with rotation of music and time. Normalized is the bedrock essence of folksy and fifties Timber Timbre, now cached in smoothed, viscous tonality: new sonic admissions, ringing sensuality and caprice, neon and haze.\u003cbr\u003e \u003cbr\u003e1. Beat The Drum Slowly\u003cbr\u003e2. Hot Dreams\u003cbr\u003e3. Curtains!?\u003cbr\u003e4. Bring Me Simple Men\u003cbr\u003e5. Resurrection Drive Part II\u003cbr\u003e6. Grand Canyon\u003cbr\u003e7. This Low Commotion\u003cbr\u003e8. The New Tomorrow\u003cbr\u003e9. Run From Me\u003cbr\u003e10. 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Creep On Creepin’ On (2011) moves forward from the band’s Polaris Music Prize long listedTimber Timbre, towards the realization of its ability to simultaneously invoke and disguise the most essential elements of pop and rock music with chilling authenticity.\u003cbr\u003eFrom guttural groans on lead track “Bad Ritual” to the eerie doo-wop-inspired pleas of “Lonesome Hunter”, the album is textured and commanding, stirring proof of the unwavering powers of obsession and possession.\u003cbr\u003e \u003cbr\u003eThe album also includes appearances by acclaimed pianist Mathieu Charbonneau and saxophonist Colin Stetson, both of whom Kirk credits with elevating the caliber of the album’s arrangements as well as its overall sound. 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Dragazis expands his signature cinematic sounds, placing a six-piece choir at the heart of the record. \u003cbr\u003e Continuing with the motif of big, atmospheric, widescreen production, but this time built around the concept of a small choir singing lead vocals in unison, the album transforms intimate songwriting into something communal and immersive. \u003cbr\u003e The album marks another step in the evolution of Blue States, which has morphed over the years from a one-man project to a live band and now back to a studio-based solo project. Most of the album was recorded in Dragazis’ London based studio, with the choir and strings tracked separately. “Recording an album with a choir and a string quartet felt like a way of pushing myself both musically and technically - taking me out of my comfort zone,” says Dragazis of the record. \u003cbr\u003e The choir came together after Dragazis reconnected with Tahita Bulmer (New Young Pony Club), who had collaborated with him on second Blue States album ‘Man Mountain’. Bulmer introduced him to vocalist Stacey Dowdeswell. Dowdeswell then helped assemble the six-piece vocal ensemble for the sessions, whose performances were largely recorded live in one take, capturing a raw, unpolished immediacy which adds to the human fragility and sense of presence at the core of the album. Bulmer herself joined the choir, marking a full-circle return to their earlier collaboration on ‘Man Mountain’ more than twenty\u003cbr\u003eyears ago. 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They are, on a musical and emotional level, inexorably linked, each member’s importance going beyond musical skill or personality. \u003cbr\u003e It makes sense that the four members have this almost elemental connection - the story of the band’s inception gives the sense that there was something cosmic involved. It goes like this: Sophie, after a period living in New York, found herself in Sydney with a handful of Garageband demos needing a beat. Enter Cecil - drummer, old friend\u003cbr\u003eand fellow Perth native - who had also decamped to Sydney. They met Annabel soon after, and were completed when Georgia, another Perth survivor, joined on bass. The quartet played their first show in late-2016; less than a year later, they’ve played main support for cult heroes Japandroids, opened for luminaries like Frankie Cosmos, Big\u003cbr\u003eThief, POND and The Coathangers, and played Gizzfest and Sydney Festival and the inaugural Electric Lady Festival. Past touring with Fontaines DC, Pixies and many, many more. \u003cbr\u003e ‘Tally’ is Body Type’s third record, released via p(doom) records. Here, the everyday bits of life - taking a lift up to a boyfriend’s apartment, divvying up a bill - are transformed into sublime and surreal thrills. This is a luminous rock record, chronicling mundanity’s\u003cbr\u003emystical implications, the deformations of romance and love’s confounding elasticity. Combining big, jagged riffs, moody post-punk and 1960s pop, this is Body Type’s most self-assured and expansive record to date, which coincides with their 10th anniversary as a collective. 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The early ‘Wide Open Road’ shows the singer still under influence of Hank Williams (as well being a rarity in featuring the steel guitar of A.W. ‘Red’ Kernodle, who left the group shortly afterwards), but the sardonic, Charlie Rich-penned ‘Thanks A Lot’, from one of his final Sun sessions, finds Cash beholden to no one but himself. There’s also Cash’s self-penned gospel song, ‘Belshazzar’, an unusual inclusion in that his producer, Sam Phillips, usually recorded only the performer’s secular material. 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