careless and young (2017)

The Boy I Used To Be

Expressive Melancholic Music

 

After years of playing gigs in and around Austria with different formations, from little living rooms to the FM4 Frequency, Philipp Timmelmayer found his way to express himself in his “most personal project so far”. When he comes to play e.g. at the Weberknecht or Unders, he gets welcomed like a friend, and with his first EP he laid down six wonderful tracks in his own living room.

Basically everything is handcrafted by The Boy I Used To Be himself and therefore unique. The cardboard cover has the logo lasered in it. Inside, the transparent sleeve contains general information and the lyrics printed on it, and a black and white photography attached.

Already the first song “On The Run” reveals the rough but beautiful sound of the record, that is soft and gentle at the same time, almost string harmonic-like. Fine slides and the descant are the “running” on this tune, which even appear fast in this calmness. Then the climax comes and shows how punchy the simple can be. Rain follows, few notes and “Heart of Stone” comes with wonderful lyrics: “I’ve been drowning for a while, in this darkened sea.” Again simple but clear words, performed in staccato-style and with overlaying voices and another amazing descant, ending in a fade-out.

Serenade” discloses the high level of self reflexion: “I am hard to bear, I am not the boy I used to be.” The nice melody from the beginning creeps in inconspicuously, this time closing with a clearly defined ending. The next song “Emma” is more complex and with actual string harmonic. The background noise sounds like a synthesizer, but as seen live is a guitar effect. Because of the different parts it brings various comparisons to one’s mind, from Wino to Eels to Peter Ratzenbeck – an outstanding song without a doubt. “Waiting for the Ocean” starts with a mouth harp, and with the melody got the character and feeling of being in a Mankells Wallander scene at the coast. “Coming close, and I see, there’s no one waiting.” Somehow the boy perfectly captured the moment of starring into an empty sea. Also this song experiences a climax, again with a “synthie”-effect and discreet drums.

The last song “Coup de Grace” starts with the familiar szenario of smoking and drinking until the sun rises again but going way deeper. The boy even kind of whispers, a suitable closure in Mose-manner of this first chapter “careless and young”.

 

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