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Sons And Daughters

Sons and Daughters are one of those bands who have been AWOL, record-wise, since roughly

The other bands in this category came out of their LP hibernation in much better moods than they went in,

while these guys seem to have woken up on the wrong side of the rock’n’roll bed,

which is not a slight on the quality of ‘Mirror, Mirror’, but where previous album

‘The Gift’ was all about angry guitars and punky grrrl vocals, this album is plainly dark – here be synths,

and they are so pissed off they can barely look at you.

Perhaps it’s a Scottish thing. There’s a depth to the new music
too though, an element of brooding under the shouts and

(which are much more boy/girl than before), and a distinct chill to the melodies. It’s indie rock gone sinister and we’re

glad Sons and Daughters have returned in a bad mood.

There is a long, vaguely nauseous silence while I retrieve my Dictaphone. The band all look at me.

I look at the plate of half-eaten fruit and pastries on their side of the room and briefly consider

burying my face in it and crying as a sort of impromptu icebreaker.

Instead I ask sheepishly to be re-introduced and am met with looks of bewildered semi-annoyance.

Naked… no homework… yeah, there you go. It’s a queasiness
bonanza in here.

The other two thirds of Timber Timbre are Mika Posen and Simon Trottier, both relatively recent additions to the lineup.

“This is the first time we’ve ever done something together, as a group,” explains Kirk, referring to the new album,

‘Creep On Creepin’ On’,

“and it’s also the first time we’ve had resources behind the recording time to use a proper studio. So, yeah,

we got space to try things and to bring other people out and stuff.”

How many more people are we talking?

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