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But without all that, there might have been no 30 Days. What the record lacks in studio polish it makes up for in pure grit and determination. Most impressive is the way Timb manages to turn his everyday conversations and feelings into danceable songs. "Boob Job" is a two-minute rocker about a girl at the Fetish Factory whom Timb unsuccessfully tried to talk out of getting a breast enlargement. "Beer Run" is about exactly that, going to buy beer for a bunch of cheap-ass friends, but through his lo-fi production and acoustic guitar playing, it feels like a dreamy Beatles song that you can't help but fall in love with.
"There were some nights where I didn't want to write at all," Timb admits. "If I was in a weird mood that day, I'd write dark, gloomy stuff. Some nights, I'd work on a song from the time I got home until 3 in the morning. I didn't give up, but I wouldn't eat dinner either."
The record is a labor of love in the notoriously low-paying indie-music trenches. Timb deserves to reap some benefits for this one. Interestingly, he's releasing the album in a digital format with a pay-what-you-want price scale similar to the scheme Radiohead won fame for; he's asking patrons to pay anywhere from $2 to whatever they can afford in support of the project. He's also pressing 100 copies of the album to sell at shows. If you bought 30 Days online and chose to pay at least $10 to download it, Timb plans to mail you a physical disc.
"I'm really proud of this album," Timb says at a local diner a few days later, Amber Bock in hand. "The songwriting is starting to feel totally natural. I'll write a song and think, 'Wait, this is a bit too personal — I should stop,' but I'll write it anyway."
Probing his vulnerabilities usually produces the best results, he says. "If you're honest with what you do, you're going to continue to make better and better art. And this is definitely the best piece of art that I've made so far."