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| Prefixmag |
 A collage of images, including a deer, an Atlantic landscape, and a purple ear, dominates the cover of Tim Exile’s third album, Listening Tree. This oddball mélange, which appears to be floating somewhere in outer space, has sprung forth from the ground and is presumably a visual embodiment of the album’s title. It’s reminiscent of Darren Aronofsky’s embarrassing flop sci-fi feature The Fountain, and the album’s thematic content also orbits a similar universe to that film. It’s difficult not to picture bald Hugh Jackman zipping through the universe in a bubble as Exile (real name: Tim Shaw) sings: “I’m stuck in the fast shifting space where gravity disappears/I’m orbiting some random place that I haven’t seen for years” (from “Family Galaxy”). Shaw is an electronic musician with a penchant for the speedy rhythms of gabba, breakcore and jungle. On Listening Tree, his most overtly pop record yet, he’s filtered all these influences into a more refined sound that inhabits a middle ground located somewhere between ‘80s synthpop (Blancmange, Depeche Mode) and contemporary electronica (Aphex Twin, Squarepusher)....full text |
| Popmatters |
| I’m not mad. I’m just disappointed with the third long-player from Tim Exile. Known casually as Timothy Shaw, the man launched his career by making sick drum and bass on the legendary Moving Shadow and John B’s Beta. His style quickly evolved to include more of a hardcore IDM influence, as shown by his awe-inspiring 2005 debut album on Planet Mu. Released only under the name of Exile, Pro Agonist remains one of the all-time greatest of its kind. Tim Exile’s Noissance Gabbaret Lounge followed in 2006 with a bizarre take on live improvisation, the kind that Jamie Lidell is still prone to perform at points in his amazingly authentic funk/soul sets. It was like a stand-up comedy routine from hell, literally. Most, if not all of its track listing consisted of reconstituted vocals diced up over a few glitch and drum patches into face shredding drill and bass form. Granted, the record is a bit much to get through in a single sitting (even the crowd allegedly subjected to this noise and Tim’s legitimately humorous ramblings got a day long break half way through), but the results were undeniably impressive. His raw talent was all there on display, like it or not....full text |
| Musicomh |
| Tim Exile - or Timothy Shaw to his friends - certainly knows his way around a DJ booth. From custom software to live vocal manipulation through the use of a PC joystick, he's a tech savvy character. But what, exactly, does that count for away from the live arena? Listening Tree, his third release, sees Exile embrace a greater pop influence than his previous efforts. When those efforts include gabba and breakcore, however, Listening Tree could make your granny cry and still be a tamer beast than it's predecessors. Happily for granny, she can dust off her subwoofer: this album, though at times an obscure experience to the untrained ear, is at other times Royksopp-like, though never to the point of radio friendliness. The risk ran, of course, is that such a comparatively watered down approach could very easily land Listening Tree firmly in aural purgatory: too low-fat for purists; too inaccessible for casuals. In reality, Exile's occupation of such territory tends to compromise the end result more often than not - at least to an accent....full text |
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