Tim, Chad And Sherry

Tim, Chad And Sherry

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Back in 2009, a group of Silver Jews and Lambchop members got together to form a new band. The Nashville residents called themselves Tim, Chad And Sherry, and self-released their debut album ‘Baby We Can Work It Out’ later that year.

Fast forward to 2012, and Tirk Records release a three track EP called ‘The Love I Make’, receiving support from BBC 6Music DJs Gideon Coe, Lauren Laverne, Nemone and most significantly Marc Riley, who invited frontman
Brian Kotzur and the rest of the band over for a live session on his show in 2013.

Kotzur is a man of many talents. As well as drumming for Silver Jews and fronting Tim, Chad And Sherry, he’s a longtime collaborator with cult filmmaker Harmony Korine, writing soundtracks and even appearing as characters like 'Buddy' in Korine’s wild geriatric romp ‘Trash Humpers’.

Tirk Records now present Tim, Chad And Sherry’s self titled second album, an oddly compelling mix of slinky, raucous rock, feet-dragging Dadaist grooves and uplifting melodious soul accentuated with electronics and subtle motorik drum machine rhythms. In describing their sound, the band says it best: “Psych dance. If Steely Dan, The Flaming Lips and R Kelly had a lovechild, you’d have Tim, Chad And Sherry.”

The album kicks off with the heartfelt Americana of ‘Baby We Can Work It Out’, followed by ‘The Love I Make’, before being hit by a splash of colour with the Latin-inspired ‘Yo Vivo Y Me Encanta’, where frontman Brian sings entirely in Spanish over chugging beats and offbeat guitar licks. ‘Rocket Tonight’ follows with subtle R&B flavours emanating through the vocal harmonies, suspended before the guitar and keys solos peel away into a noisy, harmonic crescendo.

‘Soft Country’ reigns in some of those twanging Americana influences once again to build a layered country-inspired epic. ‘Caller ID’ brings proceedings back down to earth with its grounded guitar and piano chops before ‘Come On Down’ introduces some hip-shaking, side-stepping momentum amidst radio interference, warbling organ riffs and crowd noise.

Next, we transcend into the electro-funk of ‘Beyond’, whilst ‘Love On The Dancefloor’ sounds like it could be a cosmic cover of a never-released Justin Timberlake track, before it tangents off into some rock-fuelled funk. ‘What You Need’ sees proceedings wind down with synths and wispy vocals permeating the field for a spaced out, smooth groove. ‘Don’t Disturb the Groove’ is the slow jam of the album, ending proceedings with warm and soulful vocals and a crystalline finish.

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