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Interview VO  (Paris)  mercredi 19 février 2014

Creepin’ On, les canadiens Timber Timbre reviennent avec un nouvel album : Hot Dreams. Nous avons eu l’occasion de discuter avec Taylor Kirk, le chanteur et Simon Trottier, guitariste et percussionniste. Ils ont répondu à des questions sur leur relation au cinéma, la manière dont ils composent leur musique, leurs dernières chansons ou encore leur image mystérieuse.

It seems that your music has some relationship with cinema. Your sound has been described as "cinematic" and some of your songs are featured in films and series. Do you feel both are connected ?

Taylor Kirk : I went to film school, to art school and I made films there. I was really interested in becoming a film maker. And then I was interested in becoming a composer for films. I was pretty obsessed with this idea. And then I started to play rock and roll music, and started playing in different bands and kind of lost interest in cinema. But I thought if I were to have a career in music it would be as a composer, that instrumental school. But we turned it out a little bit... What would you say ? Talk about our experiences.

Simon Trottier : We were asked to do some soundtracks. We, very fast, realized that it was really hard to work with film makers because they want to hear something specific, but they want the band to do the music. So it’s kind of hard to give them what they wanted. We had to change our music to make it work with the movie, so I guess we came back and we did a new record. (Laughs)

I’ve noticed a couple of times a link between your music and David Lynch. Do you agree with this association ? Are you interested in this film director ?

Taylor Kirk : I think we really like what he’s doing. Good movies : Blue Velvet, Mulholland Drive, the other one… Lost Highway. I really like these films. I really like what he does. But I think it’s funny that anything that is kind of, like… I think he’s kind of overrated. Everything, every set or anything that is kind of… weird or creepy or something that plays with Americana, and it’s a twist on the unkind is always attributed to David Lynch. Like anything weird is automatically… Lynch. So sometimes I would rather not hear that comparison just because it’s always him. I don’t know.

Simon Trottier : Were you thinking of someone else ?

Taylor Kirk : I don’t know… Jodorowsky or Fellini, I don’t know. There’s lots of people who were, in film anyway, vignettes that Lynch worked with. But, anyway… it doesn’t matter.

Then is there any other film director that you would draw a parallel with ?

Simon Trottier : I love Jim Jarmusch.

I met him last week. He was playing a concert in Paris.

Simon Trottier : A concert ? With the lute player, Jozef Van Wissem ? We saw him yesterday in London.

What films by Jarmusch do you like ?

Simon Trottier : Down by Law, Broken Flowers, few people liked it but I really liked it, Dead Man of course.

Taylor Kirk : I really appreciate that Jim Jarmusch is always bringing interesting music and he has different approach to film score. That’s kind of something. I think it’s very unusual because he worked with... In our experience, anyway, and this is what I understand in common, film makers will hire groups to make a score and then ultimately what they want isn’t something the band is able to do or the group does. What the director wants is the typical genre’s clichés. But Jim Jarmusch is really forward in this way.

Simon Trottier : Like asking Boris to do the… the score for Dead Mean.

Taylor Kirk : Yeah, yeah ! Jim Jarmusch, we all liked him !

Simon Trottier : He looks nice too with his white hair, and the tone of his voice. Did you see his last movie ?

Not yet, have you ?

Simon Trottier : No! What about that Danny Boyle movie? I’m not into zombies but that film, 28 Days Later it was really good.

When it comes to songwriting, do you have any literary influence in particular ? Do you like reading ?

Taylor Kirk : Just text messages, mostly texts. I think I have read three… I’m feeling honest… I think I’ve read three books last year and that’s a very sad thing.

Simon Trottier : But you were reading a lot before.

Taylor Kirk : I used to read books. I don’t know. I really used to be interested in it. I guess I never really found the next thing. I was really interested in Faulkner, most recently I guess Raymond Chandler, John Fante. I don’t know, I need all the help I can get !

Has reading William Faulkner an influence in your song writing ?

Taylor Kirk : Oh, very much, yeah. I really… For earlier recordings, I remember looking specifically at Faulkner, Robert Frost, Arthur Rimbaud. I picked up some Arthur Rimbaud again. I was interested on him again for this recording. Everything that is kind of absurd… all is forming.

Before Creep On Creepin’ On (2011), Timber Timbre would be a solo artist project. How Timber Timbre becoming a band has changed things ?

Simon Trottier : I don’t know I wasn’t there. (Laughs)

Taylor Kirk : I guess the way, the process changed. This time… With Creep On, I kind of finished the songs in terms of structure, how they would be as recorded tracks. We collaborated as a group to produce and arrange the recording, the songs. This time, the shift was a little bit different in that. And I should say the previous, with Creep On, I had a lot more textual references that I was working with to fit to music. And I think it’s something that changes every time, more or less arbitrarily, depending on how many books I manage to read. The last, with Hot Dreams, there were all music ideas pretty much, except from a few fragmented text messages. We kind of composed ideas separately and brought ideas together.

Around 2011, you said : "we’re doing lots of rehearsing and being very careful about the arrangements… we’ll become a rock band, I guess". Do you think you have managed to become one with Hot Dreams ?

Taylor Kirk : (Laughs) I need to think… Have we become a rock band ? I think so !

Simon Trottier : Yes, yes !

Taylor Kirk : Now it’s very much it, the way we execute the songs is… When I said "rock band" is like a rock format, like drums, bass, guitar, keys. That’s what we are doing now, so.

Why have you named the album after the song "Hot dreams" ? I guess it’s like the "black sheep" of the album. It is different from the others songs.

Taylor Kirk : I would consider it to be the "white sheep". (Laughs) Sorry ! But that’s a better analysis to consider… I consider the other songs to be kind of dark. The other records are considered creepy, spooky, these are the adjectives used to describe these records. And I was kind of interested in curbing at a little bit and taking a different approach.

Your voice has become deeper, comparing to "We’ll find out", for instance. "Curtains" comes closer to R&B, and "Grand Canyon" definitively sounds like folk or blues. Did you have new influences while composing this album ?

Taylor Kirk : I had puberty again ! (Laughs)

Simon Trottier : Your voice changed…

Taylor Kirk : Puberty… There’s three puberties for men, and it just keeps dropping. I think that’s true.

Simon Trottier : Really ?

Taylor Kirk : I do, yeah. I think there are a couple of different… There are, don’t you think ?

Simon Trottier : I never thought about it…

Taylor Kirk : There is the puberty, like also, when you turn thirty or something and you get fat and bald… The voice drops…

Simon Trottier : Well, let me help you with that. You want to know the influences, right ?

Taylor Kirk : One thing I was really interested in, well two things, were Lee Hazlewood and Roger Miller. I actually went to sing these songs. I kind of panicked because these… They have very low, baritone voices. And I was really worried about singing the songs from Hot Dreams, when I went to try to do it, because I realized that, I thought I had written those songs for those kinds of voices but I don’t really have that kind of voice. So, I was trying to mimic them. And that’s kind of always, always happening: finding another voice that I would like to emulate, or that I am interesting in. But there were lots of different things that were informing…

Simon Trottier : But explain yourself, "Curtains" sounds like R&B ?

At the beginning, the keyboards…

Simon Trottier : Oh yeah ! For me, the reference is more Krautrock, it’s German rock and roll from the seventies. It’s more repetitive, going on the same... Do you feel this too ?

Taylor Kirk : Yeah, but I get the R&B too totally.

Simon Trottier : OK, you’re right, R&B.

You have created a mysterious image of yourselves. It’s hard to find information about you.

Both : That’s good ! (Laughs)

Simon Trottier : But you’re going to ruin our mysterious image with this interview…

You have being described as an "enigma". Is that an extension of your music ? Or is the contrary ? How are both things related ?

Taylor Kirk : That’s a question… Is the image of ourselves an extension of the project ? Wow… She’s deep ! I don’t know how to consider that question. No, I don’t think we have this image of ourselves. I suppose it would be the contrary. Then it’s just more interesting and more enticing. The less that you know about an artist…

Simon Trottier : You want to know more but you can’t know and this is why you keep on to... do you know what I mean ? It’s more interesting not knowing.

I think people also want to know about people they like.

Both : Yeah !

Simon Trottier : They really want to know.

Taylor Kirk : Then they can’t !

Simon Trottier : If we tell everybody what we are right now, they won’t give a s**t in six months and they will turn out to something else.


A lire aussi sur Froggy's Delight :

La chronique de l'album eponyme de Timber Timbre
La chronique de l'album Creep On Creepin'On de Timber Timbre
La chronique de l'album Hot Dreams de Timber Timbre
La chronique de l'album Sincerely, Future Pollution de Timber Timbre
Timber Timbre en concert au Festival Les Nuits de l'Alligator 2011 (lundi 21)
Timber Timbre en concert au Festival de Beauregard #7 (édition 2015) - Dimanche
Timber Timbre en concert au Festival La Route du Rock #25 (vendredi 14 août 2015)
Timber Timbre en concert au Festival Nancy Jazz Pulsations #44 (édition 2017)
L'interview de Timber Timbre (mercredi 19 février 2014)

En savoir plus :
Le site officiel de Timber Timbre
Le Myspace de Timber Timbre
Le Facebook de Timber Timbre

Irene Alvarez         
Nouveau Actualités Voir aussi Contact
# 18 février 2024 : Au soleil ou sous la pluie

Que ce soit en terme de météo ou de géopolitique, on ne sait plus sur quel pied danser. Mais quand même continuons de danser parce que si que restera-t-il ? Voici notre sélection hebdomadaire pour se changer les idées.

Du côté de la musique:

"La lune sera bleue" de Aline
"Brahms le Tzigane" du Choeur de Chambre Mélisme(s), Colette Diard & Bankal Trio
"Folklores" de Dumka
"Songes" de Elodie Vignon
"Et il y avait" de Geins't Naït, Laurent Petitgrand & Scanner
"Caravan party II" de Johan Farjot & Friends
"Hors-piste" de Le Pied de la Pompe
"Pop sauvage" de Métro Verlaine
"Bright" de Soulmate
"Family and friends" de The Twin Souls
"Haydn all stars (Haydn, Ravel, Fontyn, Brahms)" de Trio Ernest
"Tindersticks, les reprises" nouvel épisode de notre podcast Le Morceau Caché
et toujours :
Akira & Le Sabbat, Les Vulves Assassines en live au Cargö de Caen
"Ferel" de Fuzeta
quoi de neuf du côté de Gad Zukes - Sweet Needles - Johnnie Carwash - Chasing Daisy
"Colère" de Lox
"Colors" de Royal Pantone
"Part time believer" de The Strumbellas
et toujours :
quoi de neuf du côté des clips ? avec Down To The Wire - Karkara - 20 Seconds Falling Man - Little Odetta
"Le cap" de For The Hackers
"For the hive" de Last Quarter
rencontre avec Nicolas Jules lors de son passage au Poly'Sons de Montbrison
"Hell, fire and damnation" de Saxon
"La société de préservation du roseau" de The Reed Conservation Society

et toujours :
"Time whispers" de Back and Forth
"Distances" de Bertille
"Ce que la nuit" de Kloé Lang
"Première nuit" de Lucas Lombard
"Big Sigh" de Marika Hackman
"Credo" de Pierre de Bethmann
"Relapse" de Venus Worship

Au théâtre

les nouveautés de la semaine :

"Holyshit !" au Théâtre de La Reine Blanche
"Le petit Prince" à La Scala
"Frida Kahlo" à La Scala
"Les petits chevaux, une histoire d'enfants des lebensborn" au Théâtre de La Reine Blanche
et toujours :
"Burn baby burn" au Petit Théâtre du Gymnase Marie Bell
"Looking for Jaurès" au Théâtre Essaïon
"L'addition" au Théâtre Sylvia Monfort
"Tout le monde il est Jean Yanne" Au Théâtre Le Funambule Montmartre
"Les Travailleurs de la mer" au" au Théâtre Le Lucernaire
"Ds Ombres et des Armes" à La Manufacture des Abbesses
"Les Caroline" au Théâtre Les Enfants du Paradis
et les autres spectacles à l'affiche

Du cinéma avec le film de la semaine "Universal Theory" de Timm Kroger
et toujours:
"Elaha" de Milena Aboyan

Lecture avec :

"Disparue à cette adresse" de Linwood Barclay
"Metropolis" de Ben Wilson
et toujours :
"Archives de la joie" et "Le vent léger" de Jean-François Beauchemin
"Le diable sur mon épaule" de Gabino Iglesias
Morceaux choisis de la masterclass de Christophe Blain à Angoulême
"Camille s'en va" de Thomas Flahaut
"Le fantôme de Suzuko" de Vincent Brault
"Melody" de Martin Suter
"tempo" de Martin Dumont

Et toute la semaine des émissions en direct et en replay sur notre chaine TWITCH

Bonne lecture, bonne culture, et à la semaine prochaine.

Les 4 derniers journaux
- 18 février 2024 : Au soleil ou sous la pluie
- 11 février 2024 : A la saint valentin, offre toi un truc bien
- 4 février 2024 : Quoi de neuf cette semaine ?
- 28 janvier 2024 : Adieu galettes, bonjour les crêpes
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