Listening Tree

Listening Tree

(2 customer reviews)


Last updated on 22 - 06 21:50 Details
SKU: C89C4E85 Category:

Additional information

Is Discontinued By Manufacturer


Product Dimensions

31.19 x 31.5 x 0.89 cm, 407.95 Grams


Warp (rough trade)

Item model number


Original Release Date



Warp (rough trade)

Number of discs


2 reviews for Listening Tree

  1. Saunders Cox

    This 2009 release has fleshed out the ins and outs of Tim’s sonic world. Any tenderfoot’s first listen to this may find it experimental, but it’s far from it–by that I mean after a few listens, you can tell that every millisecond of sound was created how it was intended. These sounds aren’t just dumped into Max and churned out through a DAW.

    I give it 5 stars mostly because it’s just one of those albums where I can just pull it out and enjoy it and get into it. I don’t have to feel a certain way to dig some value from “The Listening Tree”, because it always has something for me at any given mood.

    But be warned, these tracks aren’t for the body as much as they are the mind. The majority of the album has abstract outspoken lyrics that have a variety of mindsets given the context of the song’s construction. “Pay Tomorrow” is blatantly critical of humanity’s ignorance of deficit, culminating with each verse as a forewarning to a grand demise.

    Although it contains primarily electronic timbres and minor schemes, it would be wrong to mark this album as “dark”. It’s far from anything grim or sinister. I’d liken it to a modernized Carmina Burana. It has dynamic across every song, yet keeping the theme coherent. If no lyrics tied the songs together, one may have thought this was put together by different people.

    Tim himself has mentioned how exhausting the studio albums are in contrast to improvisation with beats, and it really shows with the effort he gives. The subtle intricacies make it all rich and inspiring. “Family Galaxy”‘s metric modulation shifting alongside each subgenre with lyrics about always changing (Chillout/Ambient@87.5bpm, 87.5*(4/3)=116.66bpm.., Electro@116.66..*(3/2)=175bpm, DnB/Jungle@175*(4/3)=Gabber@233.33..bpm) tickles a math musician’s fancy. “Fortress” was the song that first got me into all the beautiful mess, and it’s probably still my favorite one on here with its chord progression turning from epic to quirky to triumphant–an incredible audio experience.

    It’s rare to get technical IDM qualities mixed with a dignified voice, so it’s a treat for me. I read in a review somewhere about it feeling like “Electronica the Musical” which is true. It’s a nice little story.

  2. eumel

    Hier fließt eines ins andere. Das Album wirkt wie aus einem Guss. Jeder Song bezieht sich auf eine Grundmelodie, variiert sie, greift sie wieder auf, geht davon weg und kehrt schließlich wieder dorthin zurück.

    Das Album ist kraftvoll, erinnert in seiner Stringenz etwas an Massive Attacks Mezzanine.

    Wer Elektro in vielen, auch deftigen, Spielarten mag, ist bei Tim Exile gut aufgehoben. Für Fans von FSOL/Amorphous Androgynous lohnt es sich, dem ein Ohr zu gönnen. Klangkosmosgarantie!

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