Birdeatsbaby » Reviews

Reviews

JACKIE HAYDEN, HOT PRESS
MARK EDE, BN1 MAGAZINE
NICK COQUET, BRIGHTON SOURCE
ANNA MARIA STJARNELL, COLLECTED SOUNDS
POP CULTURE MAGAZINE
GOT SEEN
THE 405 REVIEW (live)
SEPIACHORD REVIEW
VANGUARD ONLINE
THE 405
ORGAN MAGAZINE
CABARET-NOIR
STREET VOICE UK
LIVE MUSIC SCENE REVIEW
ALTERNATIVE ROCK PIT REVIEW
BLUESBUNNY REVIEW
THE MOOSE FACTORY REVIEW
SURFACE UNSIGNED, ROUND ONE
SURFACE UNSIGNED, ROUND TWO
LUCI HERVERT, METAL TEAM UK
ERIC ROBERTSON, THE INDIE HANDBOOK
ROSS CONDIT, IN YOUR SPEAKERS
FAME MAGAZINE
JONATHAN MUIRHEAD, IS THIS MUSIC
ANDREW NICHOLLS, SQ MAGAZINE
TONAN, SLOUCHER.ORG
ALTSOUNDS
NICHOLA EASTWOOD, MORE THAN THE MUSIC
CHRISTOPHER NOSNIBOR, WHISPERINANDHOLLERIN (single review)
CHRISTOPHER NOSNIBOR, WHISPERINANDHOLLERIN (album review)
GYPSY DEATH AND YOU
BRIGHTON UNSIGNED

JACKIE HAYDEN, HOT PRESS

Birdeatsbaby do a neat line in the kind of madcap cabaret beloved of the French and Germans, but often thought a bit unnecessary by people round these parts. Fans of the late Agnes Bernelle will love ‘The Devil so Charming which shifts from a bit of a knees-up into heavy metal mode and back. The frantic ‘The Replacement’, driven by Mishkin Fitzgerald’s piano, brought Frank Zappa to mind, never a bad thing in itself, and the female harmonies are chillingly spot on. ‘Enemies Like Me’ opens with military drumming and a crazed violin and stomps all over your head. It’s refreshing to see a band stepping away from the obvious, and it works best when they avoid mad bastard syndrome.

Jackie Hayden

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MARK EDE, BN1 MAGAZINE

Suitably fashionable gothic lyrics, no little drama, stirring dynamics and yes, almost prog-like fusion of rock-meets-classical use of drums, piano and string lines…this band definitely have something going on and the forthcoming album should be well worth checking out.

Mark Ede

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NICK COQUET, BRIGHTON SOURCE

Self confessed avoiders of musical trends that come in and out with the tides, the ‘Birds instead take a decidedly theatrical route, with lush string orchestration forming the painted scenery backdrop to the performance pieces that make up this EP. Production by Eighties Matchbox’s Marc R Norris lends the set an inherent darkness – eerily effective as it deliciously taints the initially apparent sweetness of the songs. We haven’t seen them live but we can imagine the gigs being a blast.

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ANNA MARIA STJARNELL, COLLECTED SOUNDS

Birdeatsbaby hail from Brighton and they play a kind of dark cabaret music that’s very appealing. Frontwoman Mishkin Mullaly has a captivating style.
I Always Hang Myself with the Same Rope sees Mullaly and the band perform a quirky and theatrical tune worthy of Dresden Dolls. Mullaly’s vocals are smoother than those of other divas in the genre, and it helps her stand out.
Shiver Up the Spine is equally good, and sees the singer use her piano in a fascinating way. The staccato tempo is compelling.
The title song starts with some accappella harmonies and it has an air of innocence that must be deceptive.
The next song has a weird but compelling sound; Mullaly’s vocals sound especially good here.
China Doll is a stunning song, the band playing like there’s no tomorrow. The sense of drama feels real rather then overstated thanks to Mullaly’s subtle delivery.
It’s a debut that can stand proudly as one of the best albums this year.

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POP CULTURE MAGAZINE REVIEW

The dark Brighton-based quartet, Birdeatsbaby, are back with Bigger Teeth and an arsenal of songs! Following their 2009 release, Here She Comes-a-Tumblin’, and chomping at the bit, is their new six track EP. It’s a melancholically fresh and frantically energetic collection of the best music you haven’t heard yet. The EP is vengeful, hyperactive, haunting, joyous, and soulful and has just the right amount of humour. Having already listened to this on their bandcamp a ridiculous number of times, I can assure you that this bite size offering will both satiate and leave you hungry for more.
The first bite comes in the form of The Devil So Charming, which weaves its way around you and invites you to sit back and listen. It’s a perfect first song with its gentle plucking and haunting harmonies that sing of “hearts so cold” and the “darkest part of town”. It pulls you in slowly then, just as soon as it’s got you hooked, it changes up. The atmosphere darkens following a charged count of “one, two, three, four” from guitarist and bassist Garry Mitchell. After some impressive and impossible lofty notes, the song eases off to silence. It certainly plays the part of the record’s mood setter but there are still plenty of surprises ahead.
Track two, The Replacement, hits the ground running and comes at you out of nowhere. It’s bouncy rhythm and punchy lyrics, courtesy of Mishkin Fitzgerald, make it an instant favourite. It’s also the catchiest song of the bunch. The chorus of “Say it, say it, say it, say it, say it, say it!” is still stuck in my head since the first listen on Sunday. The Replacement builds steam all the way to the end, until it trickles off with the last few strikes of the keys.
A steady drumbeat from Philippa Bloomfield sets Enemies Like Me in motion. There is a very military feel to the music on this song which seems fitting with the theme of a battle between two people, “Every day I’m losing and you win”. The fierce fight has gone on too long and near the end the wind has left its sails. Instead of bitterly questioning, “Why don’t you beg”, the music takes a step back while the vocals soften and admit that “I could be forgiving, if you’d only oblige me”.
Anybody following Birdeatsbaby on Twitter or Facebook would have heard about their free download of Gone, via ‘tweet for a track’ (I believe you can still get a download code off them on Facebook). If you missed your chance then don’t worry because it’s on the EP! The piano is playful and Keely McDonald’s violin is hectic. This is one of the cheeriest revenge songs I’ve heard; I mean the chorus features lines like, “Happy Girly, get up early. Paint my face, my hair is curly”. The song’s vigour keeps it from being mired down in the anger of the subject, which is a nice change from the severe mood of most songs with this theme. Before you know it, Gone is just that. It’s over. It’s a nice and fast track – so you can listen to it twice as much!
Bigger Teeth closes with the poignant Rosary. The melody is strong and gentle all at once, the piano and strings playing beautifully off one another. The lyrics are some of my favourites; moving and exquisite, “They were so proud when I learned how to walk, but since then I just lay on the floor”. Just shy of four minutes, Rosary both intensifies and strips back the instruments all the way through, leaving you unsure of how to feel.
I know it’s an EP and not a full album, like their previous record, but it’s all over way too soon. You’ve only hit play and it seems like a distant, giddy memory that’s whizzed by. But that’s not going to sully the enjoyment, just do as I’ve done any times over the past few days and go back to track one. If you need any further encouragement to give it a listen, it was launched on 42 Day (10/10/10). Do you really need more of a sign than that?
Bigger Teeth is now available to download from Bandcamp and physical copies are on sale from their site.

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GOT SEEN 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

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THE 405 REVIEW (live)

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.

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

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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.

VANGUARD ONLINE

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

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THE 405

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

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ORGAN MAGAZINE

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

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CABARET-NOIR

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

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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

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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

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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 me 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

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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

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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.”

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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.

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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.”

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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!

Luci Herbert

2010 review:
It’s not every day that I open an envelope and a pile of red feathers fall out, but that was exactly what happened in the case of this EP. This was an unexpected pleasant surprise to receive, having thoroughly enjoyed the debut album from these Brighton minx’s back at the start of 2009 and it’s great to see they are still working at it. Despite something of an initial debate about whether or not this band really fit the criteria for a website geared by and large towards a metal audience, their unique style won me over enough to waiver any regulations. Birdeatsbaby truly are a breath of fresh air; there is no other band out there quite like them and aside from all else I respect them for doing something interesting and creative in a world filled with 1001 bands that want to look and sound exactly like Kaiser Chiefs or Iron Maiden or Nightwish and are doing nothing especially noteworthy.
So if you heard the album Here She Comes A-Tumbling, you will have a rough idea of what to expect here. This five track EP has a sound that will be instantly recognisable to you from the opening track ‘The Devil So Charming.’ This one starts off with a gentle waltz that slowly works its charm on me, while the layers of vocals definitely add texture. There’s a classical influence to the vocals in places, and I love the operatic trills that emerge on ‘The Replacement’ which demonstrates that front lady Mishkin is rapidly growing as a vocalist and expanding her range. There’s a bit of Jessika (Jack Off Jill) in there, mixed with Lydia Lunch and Kate Nash. This one rolls along at a calamitous pace, drums crashing and vocally full of scorn. The violin adds a certain streak of colour to proceedings as well, and is even more prominent on ‘Enemies Like Me’ which has a low-down, seductive melody and some emotional touches.
‘Gone’ has to be my personal favourite; with lyrics like ‘Just to clear up this confusion, We, Hate, You’ there is a dark sardonic tone to be felt here and the cheeky wink at the beginning is a nice touch. It’s a feisty and rather bitter anthem of riot grrl power, pretty and feminine but aggressive and vengeful without a hint of self pity. There’s a good time feel in fact, and leads into the kind of punchy rhythm that makes you want to move, I can imagine this being sung at a burlesque bar complete with dancers in suspenders and high heels and not very much else and being highly entertaining at that. This is certainly going to be a love it or hate it release again, and I think anyone who enjoys something a bit out of the ordinary will really dig this. The tunes are as contagious as the flu and actually think they have gotten stronger as a band since the album in 2009. I’d really like to see these get signed up, and a full UK tour would be nice too!
Luci Herbert

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ERIC ROBERTSON, THE INDIE HANDBOOK:

Rich instrumental textures and metric modulations… combined with Mishkin’s endearingly bleak and cynical lyrics and wry wit, it’s pretty easy to see why Birdeatsbaby would have been Mary Shelley’s favourite band (were it not for that pesky 200-year generation gap).

Eric Robertson

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ROSS CONDIT, IN YOUR SPEAKERS

The new single from Birdeatsbaby, “Feast of Hammers”, is dark, atmospheric, moody, and filled with sinister theatricality just in time for Halloween. This is the title track from their upcoming second full length album, Feast of Hammers, due out on November 7th. The band describe it as their darkest track so far and I would certainly agree. It’s perfect for the season.

Birdeatsbaby worked with producer Jason Rubal, who’s also done some work with the Dresden Dolls and The Cure. It shows, because you definitely get an Amanda Palmer/Dresden Dolls vibe on this track. “Feast” is rich in layers of 50’s style big band lounge music, masked with an ample string section, gorgeous, melancholy piano, guitar shred, a layer of feedback, and of course, Mishkin Fitzgerald’s eerie, powerful vocal.

There’s a video, too. Birdeatsbaby worked with Second Mouse Media to turn “Feast of Hammers” into a mini, musical “The Hills Have Eyes”, where a group of freaks living in the woods discover Birdeatsbaby watching TV. It devolves from there into mask wearing freaks and gruesome, surreal horror film mayhem.

Birdeatsbaby is the quintessential mix of edgy rock French can can, carrying on an almost vaudevillian or “dark cabaret” tradition. Mishkin Fitzgerald (piano/vocals), Garry Mitchell (bass/guitar), Keely McDonald (violin/vocals), and Charlie Reith-Pert (drums). The band has had some turnover since their 2009 debut disc, with Philippa Bloomfield (ex drummer and founding member) and Ella Stirmey leaving the band.

Feast of Hammers is the follow-up to the 2009 critic’s love child, Here She Comes-a-Tumblin’. Check out the entire album on November 7th. Watch Birdeatsbaby’s web stuff for all the latest info.

Ross Condit

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FAME MAGAZINE

Brighton-based Birdeatsbaby release the title track from their upcoming album ‘Feast of Hammers’ on 7th November 2011. Inspired by The Hills Have Eyes and Sleepy Hollow, the video for ‘Feast of Hammers’charts a collective of ‘freaks’ living in the woods who somehow discover Birdeatsbaby using a TV they’ve acquired through nefarious means…

Watching the band playing in masquerade masks sparks an obsession that consequently sees them fashioning their own distorted, horrific versions of the masks and then capturing the band, dragging them into their woods to torture and kill them off one by one. Gruesome, surreal and not for the faint-hearted.

Working with renowned producer Jason Rubal (Dresden Dolls, The Cure) helped Birdeatsbaby to exercise their dark musical demons in a bigger, more defined and confident way.

‘Feast of Hammers’ brings epic-scale visions to life, adding sonic layers to the music through the use of guitars, feedback and brilliant arrangement. Combined with singer Mishkin Fitzgerald’s ethereal vocal and neo classical instrumentation, the resulting track is eerie, delicate and beautiful, yet powerful in equal measure.

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IS THIS MUSIC?

This is a very grungy, dirty-sounding introduction to the latest Birdeatsbaby full-length offering. Apparently, one of the band’s main sources of inspiration is horror movies, such as The Hills Have Eyes and this shines through in the grand guignol of the music.

This is, therefore, not an album for the fainthearted – it takes a strong stomach to hit the play button and an even stronger one to keep it depressed, due to all the horrors, turmoil and psychodramas that play out herein. What keeps one listening is the sheer tunefulness of it.

These are songs that have obviously been brewed up over a long period of time. Every vocal swoop is perfectly placed; every riff has been tweaked and then tweaked again until it is absolutely note-perfect. This means each song has its own distinct identity.

Far from making this sound like an arrogant record though, the air here is one of black comedy. These guys obviously know just how prone to pomposity their chosen genre is and neatly sidestep this trap by adding a warped humour to their lyrics and delivery.

Undercutting the humour also, along with the confidence, are lots of nice big fat riffs, which work up a slow, steady wave of sound that carry both the song and the disc as a whole to a steady conclusion, leaving you wanting more. Bodes very well for the album.

Jonathan Muirhead

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ANDREW NICHOLLS, SQ MAGAZINE

Brimming with haunting vocals and ghostly piano playing that almost gives you the chills “Through 10 Walls” by Brighton band Birdeatsbaby, with its multiple layers and well written lyrics, is very close to being perfect. Mishkin’s voice wouldn’t be out of place in the score of a hammer horror film, and the song’s backline, its simple but driving drum beat and elaborate mixture of strings, only add to that idea. “Through 10 Walls” comes out at you; you can almost feel it watching

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TONAN, SLOUCHER.ORG

‘Feast of hammers’. It has been always said that the simplest thing is always the hardest to achieve, as it becomes even more complicated to do it, and this is indeed a proof that simple is better. Without much ado, the song starts with a song that seems made out of suede, accompanied by a guitar distorted but producing a soft sound. After a little explosion, piano and violin are incorporated. Riffs develop like the natural current of a river but feels somewhat hindered in the bridge, and then comes back to normal flawlessly.

The minimalistic atmosphere hosts lyrics that truly follow the gothic school, creating images that become somewhat unspeakable. The lyrics / music contrast becomes a delight, choosing the flat notes to create always a downward sensation. The quiet threat of a hurricane with words that remind me of Poe’s literature: it will always depict your greatest fears, giving words to your quiet nightmares and unthinkable scenarios (I mean it in the good sense).

‘The Sailor’s wife’ is an acoustic scene telling a rather sad story, assimilating more to those little surprises destiny has prepared for us, and we know we are aware we can’t hide from it. There’s again this dialectic motion between music and lyrics, as this can be mistaken with a lullaby if no attention is paid to the words stringed in this song.

One piano and two voices, times 2, that result in 2 perfect sharp and 2 deep sounds. The story unfolds and is linked between episodes through figures that remind me of baroque structures and silences, and even when this includes a piano only. Enough suspense is conveyed.

To conclude, you have then two intangible products for the price of one: a story and a song. Excellent! – Tonan

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ALTSOUNDS

Brighton’s very own purveyors of chamber-goth Birdeatsbaby, will be delivering another slab of classic shock-pop with their new single ‘Incitatus’ in the lead-up to their sickeningly gorgeous new album ‘Feast of Hammers’.

Birdeatsbaby up the ante with this, their third single ‘Incitatus’, taken from the forthcoming album ‘Feast of Hammers’. Described by the band as “a very schizophrenic fast-paced progressive tune, with the usual dark birdeatsbaby edge”, ‘Incitatus’ shifts the band’s sound into a more experimental realm, showcasing their unique crossover versatility Working with renowned producer Jason Rubal (Dresden Dolls, The Cure) helped Birdeatsbaby to exercise their dark musical demons in a bigger, more defined and confident way.

‘Incitatus’ is released in the lead-up to Birdeatsbaby’s eponymous album, following on from singles ‘Through Ten Walls’ and ‘Feast of Hammers’. ‘Incitatus’ contains all the trademark nightmarish vision and nerve-shredding drama we’ve grown accustom to when thinking of this four-piece. However, the introduction of Bristol producer Avon Bosco’s epic, electronic vocal cut-ups, jagged beats and soaring synths on the remix version of the track, transcend it to a new level. Adopting a go-big-or-go-home production doctrine, Avon Bosco sculpts remixes rich in harmony and texture, all the while aiming to harness those flashes of brilliance hiding in the original and bring them out onto a different stage, hitting you right between the eyes.

Having graced the cover of Brighton’s very own Unsigned Guide, performed at this years Secret Garden Party and had radio features on BBC Sussex and BBC 6 Music, Birdeatsbaby prepare to take their Grand Guignol-inspiring theatrics on the road. Performing a number of shows throughout the UK in November and December, the band have also been invited to perform at Juice FM’s showcase at The Green Door Store in Brighton towards the end of November.

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NICHOLA EASTWOOD, MORE THAN THE MUSIC

Birdeatsbaby will surprise you. Their sound is far from what you might expect, given their gruesome choice of name; you could be forgiven for assuming this is some brand of screaming, thrashing, hardcore metal. Nothing however could be further from reality. Instead, Birdeatsbaby are dark, gothic cabaret, full of ethereal vocals, brooding piano and violin. This is still not music for those who like to play it safe – it features an experimental twist at every turn, dragging the classical kicking and screaming to a melancholy modern day.

February 2012 sees the release of Birdeatsbaby’s second album Feast Of Hammers. The title track is now available on Youtube with a video that makes for unusual and somewhat disturbing viewing. For this macabre video, the band have teamed up with producer Jason Rubal, who has also created visual work boasts the likes of Dresden Dolls and The Cure.

Birdeatsbaby have some seriously impressive credentials under their belts. They have received airtime on both Radio 6 Music and BBC local radio, and they also performed at this year’s Secret Garden Party festival. Not ones for resting on their laurels, this Brighton quartet have also just completed a mini tour of Ireland as well holding a few UK dates. Among the band’s already steadfast fans are BBC’s Tom Robinson and The Independent’s Simon Price.

Birdeatsbaby will be a treat for those who crave something different and dark, cabaret and noir. As for the rest, it is a case of Marmite syndrome; you will either love them or hate them.

CHRISTOPHER NOSNIBOR, WHISPERINANDHOLLERIN (single review)

Portentous piano and thumping tribal drums raise the curtains on ‘Incitatus’, and then… what IS this? Wildly theatrical, ‘Incitatus’ combines prog with audacious (melo)dramatics worthy of the most deliriously and deludedly ambitious musical production.

On the one hand, it’s as pretentious as hell, but on the other, the Brighton-based foursome create a sound so sweeping and monumentally grandiose that they successfully achieve the effect of having a cast of thousands, which is truly admirable.

CHRISTOPHER NOSNIBOR, WHISPERINANDHOLLERIN (album review)

From the opening chords of ‘Intro’ and the first track proper, the piano-led ‘Love Will Bring You Nothing’ that romps through at least four movements over the course of its three-minute duration, it’s immediately and abundantly clear that Birdeatsbaby are a different kind of band. And so the curtains raise on what promises to be a lavish and thrilling production.

From quirky chamber pop to lusciously orchestrated baroque bombast, the songs are at once dramatic and extravagant. Presenting themselves as the sonic equivalent of a Tim Burton film and aligning themselves with Diamanda Galas and the goth-tinged sounds of Zola Jesus, the Brighton quartet don’t readily conform to any clear genre: their neoclassical orchestral-led mini-operas are simply too grand to be confined by something as self-limiting as genre.

Title track begins quietly and then bursts into a crescendo, while single ‘Incitatus’ is a veritable rollercoaster of dramatic peaks that at times is almost overwhelming. The album progresses to add layer upon layer sound on sound until it towers skywards. ‘Double Nine’ is a full-on belting show-tune performed with a cabaret-style archness . Obsession and loss provide the basis of the sweeping ‘Anchor’ and brooding pianos roll across the bulk of the tracks, strings soaking the rarefied atmosphere through which tension crackles and ideas explode faster than the flicker of a collapsing synapse. Vocal interplays and epic vistas sweep and soar here, there and everywhere to breathtaking effect. ‘The Sailor’s Wife’ is perhaps the most conventional-sounding track, but even then there’s a twist in the delivery that brings an edge to the atmosphere.

As much suited to the theatre stage as the gig-venue stage, this is extrovert music for introverts: flamboyant yet dark and touched by a hint of mania, ‘Feast of Hammers’ is an insanely ambitious work of high drama on a colossal scale. By the time the curtain falls on the surprisingly simple and reflective ‘Finale’.

I expect they’re a band that will be divisive, but that’s no bad thing. Better a powerful positive or negative reaction than none at all, and they’re the type of band who will build themselves an extremely devoted following, and deservedly so, because there’s a lot to like and the imaginative scope of the songs is undeniable. Besides, going this far from the norm takes a lot of bottle, and they do it brilliantly.

GYPSY DEATH AND YOU

I love music that just has this feel about it that is different to anything you’ve ever heard before. You know what it’s like when you hear something so powerful and raw for the first time? It just stays with you. You compare it to anything and everything, because you want to feel that way again. You want that sense of, “My god what is this? What am I feeling!?” It’s like some kind of outer-body experience. I’ve felt this with a few bands. More recently, I felt it when I had the honour of listening to Birdeatsbaby. Before I even listened to them, I knew I would love them because of the name. If you’re one of these people who judges bands based on their name- listen to Birdeatsbaby. Their insane name matches their insane sound.

If you love bands that have a stunning frontwoman that hypnotises you and makes you want more, and more. You know like Garbage, No Doubt, Doll And The Kicks (why did they have to split..I’m still hurting over this)- then you again, will love Birdeatsbaby. If you’re a fan of Dredsen Dolls, you will also love this band.

They come from the best place in England- Brighton. Okay, maybe Manchester is, but still- both are amazing cities. Which, as you know, Doll And The Kicks were pretty much from Brighton. I’m trying my best to not mention DATK but, I’m not over the split at all.

Frontwoman, Mishkin is stunning. I’m only going by the music videos that I seem to have ritualistically watched over the past 24 hours, but she is so stunning. Her voice is strange, but in a good way. I don’t mean that she warbles like a cat being stood on. Oh no, far from it. She has such a powerful voice that you just want to hear again and again. Which is why, I’ve been listening to their music non-stop.

They have an album that is out next month, that obviously I am going to advise you all to purchase. I reckon they’d be amazing to see live. I’m sick and tired of seeing bands that have so much talent being forced to call it quits because Society is so fucked up- they buy into gimmicks such as the X-Factor. Bands that work hard are overlooked just so some twat can have a Number 1 single then go back to being a cleaner. It’s not fair nor is it right. It needs to be stopped. Hopefully, and maybe Birdeatsbaby are one of the many bands that could change this. I don’t have much faith in people anymore, but I do have faith that music can be saved. Especially when bands like Birdeatsbaby exist.

It’s dark, twisted, creepy and just strange; and I love it. I absolutley love them. Everything I look for in a band is what I have found in Birdeatsbaby.

BRIGHTON UNSIGNED
Birdeatsbaby has been a part of Brighton Unsigned in the past, with playing on the Launch Night and being a featured cover for November issue. It is no surprise they’ve received a huge following with their very specific genre of “Dark Cabaret”, gaining over 100,000 viewers on YouTube for The Trouble music video. Now, they are due to release their second album, Feast of Hammers on February 20th. It consists of 13 tracks including an intro, interlude and a finale, which treats you to the bands talented instrument plays.

Keeping their signature sounds of the talented electric piano and violin, Birdeatsbaby has vastly improved with experience and giving themselves a more trademark sound that you would pretty much won’t be able to hear from anyone else currently. Most noticeably, the track (and their first single) Feast of Hammers stands out the most. It is gloomy and with the whisper-like singing at the introduction, it brings you in yet it is so catchy at the same time bringing in dark beats that is almost tribal but makes you want to join in. To keep up with the theme, the music video for this track is just as creepy in 70s horror B-movie style. For an unsigned music video, it may get a bit too much for those with weak stomachs, therefore offering a censored version! The track and video alike, it’s one of our personal favourites within Brighton Unsigned and our top favourite in this album.

Incitatus is another noticeable track on this album (and is also Birdeatsbaby’s next single), which treats to impressive bass riffs at the introduction. The collaboration of singing with Keely (violinist) and Mishkin (keyboards) makes you want to sing with them also. For this track, a music video will be released too and from the looks of it, it will be just as creepy as Feast of Hammers in a similar theme, perhaps more so! Either way, we can’t wait for it.

Birdeatsbaby will be holding a Launch night on 18th February in London (details on Facebook fan page and official website). Details on how to order/download Feast of Hammers, check out www.birdeatsbaby.co.uk. Especially if you’re bored of the sounds of mainstream genre, you will not be disappointed with this album and of course, the talents of the band. Another band that we are proud to have with Brighton Unsigned.

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