Brighton’s insanely dark and original four-piece Birdeatsbaby ‘inhabit a world far, far removed from the mundane, scuffed-Converse drear of contemporary indie rock’, or so we are made to believe with the press surrounding the band’s new album, ‘Feast of Hammers.’ The sound created by this group of musicians is unlike much else out there, despite the comparisons they will draw (including attempts from this review), their brand of gloomy pop drenched in black Cabaret and immaculate quirkiness. It’s all heartfelt and powerful vocals, jangling pianos and jaunting strings, which combine in such a way that it’s hard not to get swept along on a delightful journey.
‘Feast of Hammers’ starts with 30 seconds of delicate piano, which sets the scene for ‘Love Will Bring You Nothing’, a slice of gothica that wouldn’t have been out of place on a 1920s big band stage, provided the club was owned by a Tim Burton type. The folk track bounces along, telling the tale of the perils of love, including great worldly storytelling in the lyrics and an undercurrent of despair. It is musical theatre at its best, a song full of drama and grand scale poetry. ‘Anchor’ is a quaint and classic sounding track with superbly layered instruments, the Brit twang of Mishkin Fitzgerald’s vocals shining through amongst the themes of love that coast along a nautical metaphor. It is indie revival with a bleak edge (imagine Arcade Fire jamming with a female Ian Curtis).
‘What the Water Gave Me’ is lo-fi, as cool as Kate Bush in full swing and full of showgirl vocals as a choir of strings provide elegant support. Title track ‘Feast of Hammers’ is effortlessly original, the breathy vocals whimsical and polished, once again the layered instrumentals working extremely well in their sustaining role. The scale is epic and as the song progresses something sinister about the dark beauty that surrounds it is highlighted. ‘The Sailor’s Wife’ is a heartbreaking ballad, with just piano accompanying dual vocal. It’s a stripped down folk dream with visionary lyrical themes (the story of a suicidal love at sea?)
‘Incitatus’ is a doom filled nightmare, the eccentric streak of the band coming to the surface as the vocals play along like a nursery rhyme, the melodies childish and playful. It’s vivid, rich and ethereal, and really is a joy to listen to. Slow paced piano provides an interlude before the Cabaret theme is revisited with ‘Double Nine’, a combination of driving chords and excellent strings, with the song channels musical demons. ‘Through Ten Walls’ is vampish and glamorous, all black lipstick and mascara. It’s the most downbeat song of the album but doesn’t feel too dreary, just coasting along at an acceptable pace.
‘Tastes Like Sympathy’ starts with soft spoken vocals before fading into a pulsating beat, the instrumentals swaying like the ocean tides. There is a cloak of elegance across it, the track feeling resilient yet fearful. It’s a great piece of fragile pop. The vast energy begins to fade by the time ‘Victoria’ arrives, this last push feeling like a big effort for the band. In places the song is triumphant but mostly feels lacking. The ‘Finale’ is an atmospheric waltz which ends the album on a powerful (albeit a dark) note.
‘Feast of Hammers’ is a scintillating release from an exciting and inventive release from Birdeatsbaby and will no doubt gain them a vast army of fans from across various genres, which will do them nothing but good. They have masses of potential, that’s no doubt.
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