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GOTSEEN.COM REVIEW
For something completely different to anything you'll ever hear, you have to check out Birdeatsbaby.
This mostly female line up from Brighton, England have fused violins, cello, and piano to create a very different sound to most of the modern guitar based music we hear today. Add to this though a sprinkle of Caberet and Theatre and you begin to get the feel of what this band are about. Even the lyrics mix darker, serious comments, with lighter, funnier moments.
To see how clever the band are at songwriting, 'China Doll' could have been a Queen track, you can just imagine Freddie Mercury singing this easily. 'Miserable' is a fast paced, jaunty trip into what sounds like the sordid, dark, damp streets of old Victorian London Town. Close your eyes and listen, you'll see what i mean..
All in all, Birdeatsbaby are what you'd get if you mashed up Queen, Madness,Theatre, Caberet, 19th Century Vauderville that then evokes the feeling of spending a night sleeping rough behind a Victorian London theatre.......
This work really is the most amazing music i've heard in an age....
I can only imagine what Birdeatsbaby look and sound like live...
http://www.gotseen.com/index.php?c=digits_band_of_the_week
THE 405 REVIEW:
Written by Danny Wadeson
Venue: Marlborough Theatre, Brighton
Support Bands: Bitter Ruin, Charlie Khan, Birdeatsbaby
Date: 30/05/09
The Marlborough is a small, cozy pub on a miniscule side street near Brighton centre. Strangely enough, it also has a small theatre upstairs, with the capacity to hold about 100 people max and with a charming little stage. It was also the venue for local bizarro-pop outfit Birdeatsbaby’s album launch party.
Having had a little gold heart drawn on my hand at the door, I settled myself into a corner to await two support bands that I had never heard of before, with stoic optimism. Bitter Ruin took to the theatre stage without me even knowing their name, and it took all of about 30 seconds for me to be blown away. Bitter Ruin is a duo, stockinged crooner Georgia and acoustic guitarist and no less exuberantly dressed in high collar 1920s garb Ben, and they perform with an intensity that is almost uncomfortable.
Georgia’s voice, throughout the set, ranged from a cute mouse to a bellowing valkyrie (fitting, really, due to their self-confessed slight obsession with militaristic imagery in their lyrics). Her range is incredible and evocative, offset in the vocal breaks by theatrical gestures and plenty of impassioned bear foot stamping. Ben played a spanish style acoustic guitar, and his modus operandi was jagged, melodic, and very accomplished with plenty of classical influences. As it turned out, he was also possessed of a ferocious set of vocal-chords, his face often contorted as he belted out harmonies and, on one occasion, the emphatic lead vocal line.
At times sitting back to back, at others both sitting on the edge of the stage, always thought-provoking and surprising. The audience, sparse at this early point in the evening, was left dazed; be it from awe or awkward complicity It was hard to tell. Probably both.
Following trio Charlie Khan did indeed, as eponymous vocalist and bassist claimed, have a certain sociopathic charm, but unfortunately seemed repetitive by the end of their set. Fair-ground organ played accompaniment to a solid double bass, and Khan’s vocals were bluesy and reminiscent of early Tom Waits’ huskiness. Snarled, roared, softly-softly, this was all sliding cadences and twisted waltz, and for the most part proved compelling.
As ever when sandwiched between a shockingly good opening band and the headliners, band no. 2 suffered, although it was testament to their song writing that it held our collective attention for as long as it did.
Birdeatsbaby began their set to a buzzing crowd, and behind closed curtains. Having sat down towards the end of the Khan’s set, the audience was promptly instructed by a disembodied voice to ‘stand up, right now!’, and minus one or two late adopters there was little dissent. As the curtains opened to reveal 4/5ths of the band, already striking up the opening melancholy chords, a musical Mad Hatter’s tea party unfolded. Behind the drums a Rabbit, a Cheshire Cat holding a violin, Alice on cello and The Mad Hatter on bass, and a big smile on my face.
Winding elegantly through the audience, singing sultrily the while, came The Queen of Hearts herself, (the golden heart on my hand! It all made sense now!) before taking up residency behind the keyboard, and thence Birdeatsbaby were assembled!
From the offset, unfortunately, Birdeatsbaby were beset by a few technical problems. Mishkin, after a few songs and the bass lead packing up, addressed this with the quip ‘We’re being attacked by technical Gremlins, and on our album launch party!’, in mock-petulance. Either way, the problems soon subsided and to no detriment; once into the swing of things the atmosphere became lightly entrancing and BEB put on quite a show.
Music wise, BEB are an intoxicating amalgamation of chamber pop, frantic classical and dark melodrama. Live, they stand out due to their attention to detail, twisted fancy-dress aesthetic and awesome arrangements. For a more detailed explanation of their awesome and original sound, you can check out The 405 review of their album.
Suffice to say most of the new, debut album was played. We were also graced with a hitherto unheard (one might say ‘new’) song, entitled ‘Victoria’ in keeping with the general BEB theme of character constructs in their songs. It was lush; and gave plenty of space in the intro to Mishkin’s fantastic voice, comprised of a hint of fragility, plenty of guts and a few drops of vibrato.
Comparisons to Dresden Dolls are inevitable but misguided; the reason being, one might say, that Burlesque-Core (or whatever you might call it) isn’t a particularly well established genre, and so frames of references are few and far between. I’m pleased to report that, as far as I’m aware, Birdeatsbaby sound utterly unique, and by dint of their consistently brilliant arrangements and compositions it’s originality in a good way.
For a 5 piece including violin and Cello, which are notoriously hard to get the levels right for live, BEB were technically very tight, minus one or two moments in the opening few songs. With a little much experience, and perhaps at better equipped venues, BEB live shows will be spectacular and rapidly garner a cult following.
As way of introduction to an encore song, Mishkin announces ‘We’re going to go happy now. Does everyone want to go happy? Well, tough, we’re going happy’ which stands as a good illustration of the way Birdeatsbaby take you on a roller-coaster ride of theme and emotion, coercing you to bend ear to tales of a desirable but miserable minx, only happy when gagged and bound, a china doll, and the brilliantly titled ‘I always hang myself with the same rope’. Birdeatsbaby’s unique brand of legitimate musical theatrics suited the intimate, dimly lit theatre well, but hopefully they won’t remain a dark little secret for long; they certainly don’t deserve it.
http://www.thefourohfive.com/reviews/68
SEPIACHORD REVIEW:
Brighton's Birdeatsbaby call themselves "Dark Cabaret". It's not a bad summation but it is shorthand so it does fall short.
Sure there are cabaret influences here (helter-skelter waltz on "Hymn" and "The Trouble...", the gypsy twist of "Seventeen"), but there are also clear ringing pop/rock elements. With their non-traditional instrumentation (piano upfront, violin, cello, drums, some bass but scant-if-any guitar) Birdeatsbaby have carefully planted themselves between the cabarock of bands like Scarlett Room and the chamber pop of the Decemberists.
It is perhaps the "dark" part of dark cabaret that is the most off.
Yes, each song on the band's debut full-length tells a story of dissatisfaction and/or frustration (which is a lovely and welcome change of pace from the angst and faux-rage of guitar driven rock). But these are not gut wrenching tales. The CD cover features the band's vocalist Mishkin Mullaly still, pale and exquisite apparently wretching up flowers. As with all good products the cover is an augury of the contents- things are going to be dredged up from deep inside and they may be surprising but they are not vile, they are illustrative but not repugnant. And in the end they are tempered with such a pop spritely-ness Birdeatsbaby must find some kinship with Queen and ABBA. Like those two antecedents you will find yourself smiling as you sing along with tales of discontent and broken hearts.
Despite all of the variety influences and styles intermingled on "Here She Comes-a-Tumblin'" the result is wonderfully unified. This is the work of a conhesive band, a group of folks clearly on the same page and intent on finishing the story together.
I know that some listeners shy away from bands with cellos and violins, bands that toss around identifiers like "cabaret". Some folks are afriad that they're in for something "old timey", dated, irrelevant. Let me put your minds at ease: Birdeatsbaby are a thuroughly contemporary band. The only "old timey-ness" here is that of timelessness. To wit: the only old fashioned element on this album is the fact that good song writting never goes out of style.
Recommended.
http://www.sepiachord.com/beb.htm
VANGUARD ONLINE REVIEW:
Available on the rather good CD Baby system, this is a proper change of pace from what we normally get sent at Vanguard Towers. Very theatrical, this could be filed as “Gypsy Chanson”, if record shops had that category. Or maybe placed next to the Gorgol Bordello albums. The songs are cabaret tunes, filtered through the overwrought genre that is musical theatre and as bouncy as early Chumbawumba.
A marvellously grainy voice adds grit and pulls at the heart, singing of regret and anger. Drumming is busy and racey, rattling along punk-style while the fiddle adds that sense of authentic passion. Piano; well, you have to have piano for percussive music like this. Add a cello and a bass and take note there are no guitars till the last song, and you have an unusual combination. Birdeatsbaby “don’t give a damn, a man is just a man”. They stalk a stage, emoting, preening and puffing their chests out. They are wounded creatures but resilient, picking themselves up and putting it down to experience. It’s an attitude that will bring them Goths and anyone who likes being a bit theatrical with attitude. The music, itself, will reach people who have a soft spot for ambitious drama student-types who feel like they’ve lived centuries despite not having reached a quarter of a century themselves, full of regret, nostalgia but still young enough to have a righteous attitude. There is no fear of pretension here and so they take chances and carry this listener over to their darker and brighter world.
Ross McGibbon
http://www.vanguard-online.co.uk/0905ABEB.htm
THE 405 REVIEW:
BIRDEATSBABY - HERE SHE COMES A-TUMBLIN'
May 30, 2009, 0 comments
Written by Danny Wadeson
Label: Self-Released
Release date: 30/05/09
Website: Bird Eats Baby Myspace
Bird Eats Baby (BEB) sound original, look bizarre, would probably taste exuberant. ‘Here She Comes A-tumblin’, The Brighton quintet’s debut album arrived in a jiffy bag filled with, amongst other things, plenty of feathers and bits of red ribbon. I found myself very quickly absorbed into their shady, eccentric universe.
‘I Always Hang Myself With The Same Rope’ starts with grand pomp, swelling strings and thumping drums. The chorus keeps up the pace, and it’s when the bridge in the latter half of the track, the eponymous lyric sung over the ever-present string section, that BEB becomes a truly compelling force.
Thereafter BEB prove to wield dynamics quite masterfully. Following song ‘Shiver Up The Spine’ is in turns sparse and mad, then dense and gothic, with lilting melodies infrequently raising the mood to wistful and gay. Thence, ‘Miserable’ makes the lyrical quality quickly evident with opening line: ‘Well it’s good to be a little open minded/to the way that other people see the world/but I can’t get by your obsession with leather/and the way you think it’s fun to hurt yourself.’
BED is comprised of Mishkin; lead vocalist and pianist, and is completed by bassist Garry, violinist and backup vocalist Keely, Philippa who is credited with Drums (as well as the artwork/photography) and Ella handling Cello. The lineup is a talented one, the instrumentation near faultless and the mood swings manic depressive.
There are tracks that would benefit from being a little more concise, and others that would similarly be tightened by a little more minimalism, yet on the whole the track listing is accomplished and confident. As a self released album the production is competent, although upon first listen there are a few moments that seem a little abrasive, fewer still that remain so after a repeated listen; occasionally however there is a vitriol that will always be divisive.
A sinister streak runs strongly through the entire LP, a tongue-in-cheek fascination with macabre shrieks of strings, snarled vocals and unconventional albeit maturely handled lyrical content. Refreshingly, BEB pull off being dramatic and wry without being tongue-in-cheek, or Queen-esque camp. It’s not often that a band or one of their albums conveys such a strong sense of personality, not contrived, just an unchained force of eccentric passion, and rarer still on a debut. What Birdeatsbaby accomplish with seeming ease, is a distinctly unhinged brand of burlesque freak-pop.
Rating: 7.5/10
MP3: Birdeatsbaby - China Doll
http://thefourohfive.com/reviews/64
ORGAN MAGAZINE REVIEW:
ALBUM REVIEW: BIRDEATSBABY – Here She Comes-a-Tumblin’ (Self Release) –
They’re from Brighton, and their album arrived here in a shower of red
feathers (and who’d going to clean up this mess?). A shower of red feathers
and swirling burlesque and confident brightness. And violins and always
tying themselves up in the same ropes and... Now if you like those Dresden
Dolls and a touch of Danny Elfman or Tiger Lillies or poppy Lydia Lunch and
a touch more of those Dolls and Amanda Palmer’s breezy drama queen antics
and loads of eyeliner and bold classical baroque swipes. Four girls, one guy
and loads of refined string driven energy. Yes they are very Dresden Dolls,
not too much though, they have their own delightful character and their own
smudged lipstick and most importantly, their own delightful songs. All very
much worth your time if red feather showers and the drama of those Dolls is
your poppy kind of thing...
http://www.organart.demon.co.uk/neworgan302.htm
APONAUT REVIEW:
... Dark Weimar Cabaret, Baroque Classical Melodic Rock! Da denkt man unweigerlich an die DRESDEN DOLLS und liegt auch gleich gar nicht so falsch. Mishkin Mullaly und Philippa Bloomfield formten nach kurzer Zusammenarbeit als Duo BIRDEATSBABY zur einer bizarren Dark Cabaret Band. Selbst eher traurig bis depressive Lyrics kommen allerdings so energiegeladen und ironisch rüber, das es eine wahre Freude ist ihnen zu zuhören („QUEEN auf Absinth mit Van Gogh im Moulin Rouge“). Das ganze Album selbst produziert und verlegt kam aus England bei uns in einer Hand voll Daunenfedern verpackt an. Wenn das der Zoll mitbekommen hätte, bei den gerade umgehenden VogelSchweineGrippenRinderwahnsinnsHysterien, hätte ich die CD wahrscheinlich nie bekommen. Infiziert bin ich aber tatsächlich von dem Sound und der Show der BIRDEATSBABY’s. Am 08. Juli auch in good old Germoney in Chemnitz zu sehen. Geiles Album – KAUFEN! – großmutter futziwolf
http://www.bundschuhfanzine.de/aponaut/index.php?action=showFullNews&newsDescName=Reviews&newsID=20090511205521&stopNewsCounter=
BRENT STEPHEN SMITH REVIEW:
Beware the dark pull of Birdeatsbaby
In music on May 10, 2009 at 12:54 pm
A black envelope sits in my hands. It’s thick. I see hand-scripted scrawls all over it in metallic silver gel ink. To Brent Smith. From Brighton, United Kingdom.
I open it to have a thousand white feathers fall into my lap. Out pops a disc and some crafts-fair literature from the almost indescribable Birdeatsbaby. Almost. I’ll give it a go, though, otherwise I’m of no use.
In their China Doll EP, Birdeatsbaby throw it all out, leaving conventions in their wake as they thrust through the room with the avant air of interwar burlesque performers, dark lyricism hand-in-hand with whimsical runs of the piano.
The titular first track makes it quite clear that the ladies (and one gent) of the group don’t intend to be treated as fragile. The lyrics evoke a post-modern feminist strength contrasted with Baroque instrumentals that makes you want to cheer them on (for fear of being ripped to shreds by their piano, violin and/or claws).
The second track “I Always Hang Myself With The Same Rope” is self-effacing, emotive, and in a way, draws power from admitting weakness.
The final track “Shiver Up The Spine” does exactly that, with the opening seconds creating a false lull of safety before being bombarded by a diva-esque ballad of cabaret proportions. This is the kind of song you expect to hear at the end of a classic film, right before the police bust into the underground club to take away our heroine for charges of conspiracy and anarchic subversion.
“I don’t give a damn, a man is just a man”, she sings as they drag her away and throw her in the wagon to be taken to the station.
I finish my drink, put on the fedora and walk out into the brusque cold night air, knowing I’ve experienced something that the married boys back at the office only dream about.
China Doll is the appetizer and on June 1, Birdeatsbaby will be releasing the main course, their first full-length studio album, “Here She Comes a Tumblin’”. For a taste of the sardonic wunderkinds, check out the awesome music video for “The Trouble”.
http://brentstephensmith.wordpress.com/2009/05/10/beware-the-dark-pull-of-birdeatsbaby/
BLUESBUNNY REVIEW:
In a flurry of red feathers, the first album from BirdEatsBaby landed on the Bluesbunny's desk. Not that you would expect anything less than a dramatic entrance from this Brighton based band. They tend towards cabaret, veer towards the dramatic and will surely raise both your spirits and your consumption of champagne.
Of course, times have changed since the heyday of cabaret. Women are just a bit more - well, quite a bit more - assertive and the lyrics to these songs reflect an altogether more modern viewpoint. Take "Jim" for example, this is a song that takes a rather more direct approach to relationship issues than Carly Simon would. It's not all stab wounds though as Amanda Palmer would surely recognise the work of a kindred spirit in the intense yet twisted "Hymn". That is perhaps the greatest appeal of this album. The music lives in the shadows of many a great performer but the words are those of the cold light of day and they are performed with both imagination and conviction.
There might well still be hope for popular music. Pomp, circumstance and dare I say it, real style are making a comeback. Pockets of resistance against corporate mediocrity are to be found across the country. There's Screaming Mimi in Sheffield, Sonny Marvello in Glasgow and now BirdEatsBaby in Brighton. Those who seek such hope should start their search with this album. It's that simple.
http://www.bluesbunny.com/tabid/122/xmmid/474/xmid/1654/xmview/2/default.aspx
MTUK METAL ZINE REVIEW:
This may well seem completely unrelated, but I had an e-mail through recently for a band dubbed by their PR folk as “Brit-School Rockers,” which had me doing a double take. Then it occurred to me that what they meant was not a mistype; no, these lads’ background resided in powdering their nostrils and chortling over bank-of-daddy tales with the Lily Allen’s and Kate Nash’s of the music world. Chances are you can already see vaguely where this review is heading, and it ain’t into strictly metal territory (you have been warned!) I wracked my brain over this one trying to decide whether or not this ought to be rejected for our fine publication; having already put a maniacal grin on my face it suddenly hit home that this isn’t going to every readers’ cuppa Darjeeling…but then again, what is?
More RADA that BRIT, this just has that vibe of a bunch of fame-school rejects extracting their revenge on their pushy mothers who are simply horrified to see their sweet little angels grow into wild, promiscuous whores overnight. You can imagine lead vocalist Mishkin rocking the leading role in the school production of Cabaret, before getting kicked out and forming a band where she can put her theatrical mien to more creative ends. On tracks like ‘I Always Hang Myself With The Same Rope’ she really pulls off that bratty-girl scorned demeanour as the track gets in more of a strop than you’d see in Kevin & Perry.
It’s all very theatrical and over the top; simply put, these twelve tracks make up a delightfully dark stage show, lubricious in manner and acerbic in tongue. ‘China Doll’ is gothic and sensual, while on the chorus there is an air of fragility that comes off as breakable as china. Lyrical themes are rarely delivered with more raunch than in the kinky and twisted romp of ‘Miserable’ which plays like a warped theme to a fetishistic burlesque house. ‘Shiver Up The Spine’ comes waltzing in with its haunting violins, while Mishkin’s delivery is every bit as fiery as her flame coloured hair. Vocals range from impassioned cries to hushed whispers, reminding of Regina Spektor, while she gives the impression of a weathered woman who has given up on men.
There is such a seamless flow that links together the tracks that it really is hard to tell where some of the tracks are coming to an end. With its brisk violins and rumpapump drum beats, ‘Jim’ marches through a couple of tempo changes, slowing into a soaring chorus with a quirky Shirley Manson afflicted delivery, before a ferocious yell brings the track to an unexpected end allowing it to tumble down into the wondrous a-capella chorals of ‘Here She Comes-a-Tumbling,’ which subsequently opens into the fierce and angst-ridden ‘Hymn’ with its lullaby-esque calm.
If you enjoy quirky sounds with something a little unusual on offer then you’ll love this! It’s as raunchy as a 1920’s brothel, as bitter as a woman scorned and as damned well danceable as it gets! Just make sure you remove any breakables before it has you doing the can-can!
http://www.myspace.com/birdeatsbaby
http://www.birdeatsbaby.co.uk
Luci Herbert
http://www.metalteamuk.net/apr09reviews/cdreviews-birdeatsbaby.htm
CABARET-NOIR REVIEW:
Das britische Punk Caberet-Quintett Birdeatsbaby veröffentlich am 01. Juni 2009 ihr langerwartetes Debütalbum Here She Comes-a-Tumblin`. Nachdem sich die fünf Musiker(innen) in ihrer Heimatstadt Brighton als Liveband schon einen Namen erspielt haben, melden sie sich damit auch international um Cabaret-Musik in bester Dresden Dolls-Tradition in Europa weiter bekannt zu machen.
Birdeatsbaby schaffen mit ihrer Musik eine dramatische, cirqueske Spannung. Dabei schwanken die Stück zwischen Wahnsinn, Wut, Verzweiflung und dann doch wieder ruhigen Klängen, die aber oft nur eine Ruhe vor dem nächsten Sturm bleiben. Wie sich dunkle Frauenstimme mit Klavier, Streichern, Schlagzeug und Bass anhören zeigen Birdeatsbaby in ihrem neuen Musikvideo zum Stück The Trouble... - eine verspielte Stop Motion-Homage voll angenehm kreativer Ideen.
http://cabaret-noir.de/reports-bands/2009-05-07-birdeatsbaby-veroeffentlichen-debuetalbum.php
STREET VOICE UK REVIEW:
BIRDEATSBABY - Here She Comes-A-Tumblin': This is one of those releases that
you'll either love or hate. There's no inbetweens. My partner hated it! I
enjoyed it! What you get for your money is a refreshing twelve track album
which sees this five-piece breaking away from the norm and doing something
that is very cool. Birdeatsbaby blend Classical with Riot Grrrl influenced
Punk Rock giving you the listener a real musical experience. For me too many
British bands have played it safe for years but not these folks. Gone are
the traditional guitar which is replaced by a number of instruments
including the cello, piano and violin. Fusing all those instruments together
has paid off and they sit well with the three vocalists who's voices
compilment their instruments. The proof of this can be heard throughout this
album and tracks to really listen out for include 'Seventeen', 'I Always
Hang Myself With The Same Rope', 'Jim' and 'China Doll'. If you're looking
for something original and cool with it then Birdeatsbaby might be the band
for you!
8/10
Street Voice UK
http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=22963792&blogId=485548266
LIVE MUSIC SCENE REVIEW:
By Dave Urwin
Now, I don’t mind admitting that I found the experience of listening to this album almost frightening in places. The slightly unsettling band name notwithstanding, a number of these tracks evoke the kind of images that usually only appear when you drift into a light sleep and experience vivid and kaleidoscopic dreams. A dizzying range of influences is apparent, ranging from prog to gypsy jazz to classical via a whole lot more. My one problem with ‘Here She Comes a Tumbling’ is that many of its tracks are mini symphonies featuring constant tempo changes and genre hopping and ironically this starts to become a little predictable over the length of the album. However, the world can be a deeply confusing and nonsensical place and Birdeatsbaby have captured this mood in an enchanting manner.
To list the number of genres we hear a twist of would be pointless, but if I was to attempt to pick stand-out tracks the haunting ‘Jim’ would be an obvious first choice. The lyrics possess wit of the kind Morrissey is best known for and are set against a backdrop of understated violin, crashing and tumbling piano and a pinch of military drums. ‘Jacqueline’ is a kind of 80s Eastern European folk pop gem that really shouldn’t make sense but is all the more wonderful for doing just that. The effect is akin to that of a laughable cooking experiment that somehow introduces a delectable new dish to your repertoire.
A couple of the most beguiling tracks here are the most simple. The title track, made up entirely of intertwining Celtic harmonies, is just over a minute in length but is absolutely spellbinding. Album closer ‘Letter to Charlie’ is just guitar and voice but still manages to transport the listener to the end credits of a particularly memorable American arthouse film. It could almost be a long lost Sonic Youth b-side – ‘Tie me down Charlie Brown, wrap me up in a hospital gown’ anyone?
Birdeatsbaby are clearly absolutely exploding with ideas and at times I felt like they tried to cram too many into a single song but overall this is an undeniably magnificent album and one that will probably be loved by anyone who appreciates interesting music. I wouldn’t dream of suggesting that they should rein themselves in but I see them as a band driving on a Romanian country road and having to swerve almost constantly to avoid potholes. If they are able to cross the border into Hungary and save the swerving for an opportune moment then I really believe that the results could be mind blowing. Definitely a band I will be keenly following the development of and for my money certainly one who are worth checking out.
http://www.live-music-scene.co.uk/cd-reviews-content.asp?id=54
ALTERNATIVE ROCK PIT REVIEW:
zynne.com reports: I must admit this band triggered my curiosity just by their appearance. The immediate theatre-burlesque associations that came to mind by looking at their band photos, -and even stronger when opening their press kit to find an explosion of red feathers, was made a reality by the first note stroke of the second track “Seventeen”. More…
BIRDEATSBABY has, like most bands, had a rough start. But here the similarities end. BIRDEATSBABY is not like most bands. I don’t know where to start.
Take the combination of instruments for one; Cello, Fiddle, Piano, Bass and Drums. Not your average instrument combination, but it works and it works well!
BIRDEATSBABY does not leave things to circumstance and with their first studio album “Here She Comes-a-Tumblin’” they prove this with confidence. The album is, according to the band themselves, “…a blend of Weimar cabaret, Baroque Classical and Melodic Rock –a collection of songs that touch on the subject of feminine innocence and sadness; thoughts and muses on failed relationships; and accusing outburst of betrayal.” The band definitely thinks outside the box and their flavor is one who will grow on you like a fine vine.
So, where in the musical landscape do we find this band? A tricky question to answer; just when you think you have them all figured out the music turn directions and leads you in a completely different direction. This is the key and also the spellbinding trademark to BIRDEATSBABY; the constant shifting in expression.
“Sweetheart, my darling, slightly charming, wrap med in nettles and thorns…”
Considering this is BIRDEATSBABYs first album one must admit it is a solid one. That being said; this album will never be played in elevators or waiting rooms, this is for listening. The album is taking you on a dreamy journey and just like having dreamt you can't really recall what you have experienced, nor what the lyrics was really about.
If I should put my finger on something it must be the production work. Sadly first albums often suffer from poor engineering due to a tight budget. I think BIRDEATSBABY deserve a deeper, darker sound image and the vocals would really stand out spectacularly with a better mix.
I can’t free myself from wanting to experience BIRDEATSBABY live; I think this act first and foremost belongs on a live stage. The tracks all have elements of the utterly fragile and the insanely strange. This is Nick Cave and Tom Waits in a Brighton-girly-grotesque-rehab-center and it’s great!
http://www.zynne.com/birdeatsbaby.html
BLUESBUNNY REVIEW:
"As you might imagine, Bluesbunny receives a lot of albums through the post. The vast majority of them come (unsurprisingly) in Jiffy bags. This EP from Brighton band Bird Eats Baby came in a black envelope. Opening the envelope with our customary disregard for technique caused the room to fill with black and red feathers. As we picked said feathers from our plate of chocolate digestives, we pondered the previously unconsidered health and safety issues of being a reviewer.
Safety issues were soon forgotten as we put the EP into the trusty CD player. Well, you get three tracks on this EP. Each one of them could be part of some deranged cabaret show at the Kit-Kat Club. Dramatic, even camp, these three songs show an imagination so often lacking today. The first song, "China Doll", is powered by a pumping piano and features a remarkably effective and melodramatic use of dual female vocals. Likewise, "I Always Hang Myself" is cleverly and subtly arranged but still manages to reek of cigar smoke and decadence. Going wildly over the top in best show tune fashion is "Shiver up the Spine" with the clarion call of "… a man is just a man" fading us out into the deathly silence of the night. That mournful violin just seemed so appropriate too.
It is good to see a sense of the dramatic in a band. Too often these days style is confused with expensive haircuts and Rolex watches. Bird Eats Baby have style aplenty and the musical abilities to back it up as well. Bluesbunny is very impressed both with the band's music and even with the actual recorded sound. Perhaps there will be an album soon? We hope so. For now, surely it is time for another bottle of champagne. And another song."
http://www.bluesbunny.com
THE MOOSE FACTORY REVIEW:
"Birdeatsbaby is a young, mostly female, dark cabaret act with a classical rock opera slant from Brighton. Think what Queen would have done if they had been Absinthe drinking pals with Van Gogh at the Moulin Rouge and you won't be too far off.
Their debut EP, 'China Doll', was sent to me with a collection of red and black feathers, which was a nice touch. They weren't to know that my cat has a lethal allergy to feathers. Never mind. I never liked that cat anyway.
The title track most suits the dark cabaret rock opera tagline, with its various changes and piano-driven forward gear and powerful singing. Very dramatic and I'm sure Freddy Mercury is crying somewhere with the pompous beauty of it all. Only sometimes do I feel that the storyline just has too many syllables for the music to keep up with. For the most part, I'm there happily for the ride.
More successful, I feel, are the other two tracks on the EP. I love the title of track 2, 'I Always Hang Myself With the Same Rope,' which I can relate to somehow. The track itself is more rock then the others, but the piano and string backing give it that cabaret feel that threads its way through the whole recording.
The EP ends with the lilting off-kilter waltz, 'Shiver up my Spine.' I can't help but imagine an Adam's Family sing-a-long around the piano. Cousin It, Morticia, et al could only dream of this passionate sound, however.
All in all, Birdeatsbaby tread that dangerous ground of music versus theatre; camp versus passion; humour versus quality, and they do it rather well. I'm very curious to see what they're like live. This is something you can do at the Purple Turtle in Camden on June 1."
SURFACE UNSIGNED, ROUND ONE:
Birdeatsbaby is an eclectic ensemble of cabaret types that would look perfect at home at a burlesque show. But the weird and wonderful is something to be admired by everyone. With classical influences like Queen and Dresden Dolls, the bizarre but beautiful band delivered a powerful heartbreaking set of emotionally enthused orchestral sounds. A cello, a violin, a bass and drums coloured gorgeous lead singer Mish’s pianos and vocals, completing Birdeatsbaby truly unique and stunning melodies.
SURFACE UNSIGNED, ROUND TWO:
"I have reviewed them once before so I will explore a different avenue if you will and explain what I felt rather than what I saw. Birdeatsbaby have this vibe which is almost unexplainable. As if a legion of lost souls has possessed the stage with their music and their makeup & attire creating the illusion of some black parade style clique. You sense their friendship shining through each song as the harmonies seem to connect the invisible strings that hold them all together."
