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BIRDSONGS OF THE MESOZOIC
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Steve Adams • Michael Bierylo • Ken Field • Erik Lindgren • Roger Miller • Rick Scott • Martin Swope
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EXTREME SPIRITUALS
RUNE 241
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For their 13th album and in their 25th year together, post-punk, art-rock pioneers Birdsongs of the Mesozoic do a 180 degree musical swerve and link up with bass-baritone vocalists Oral Moses, one of the preeminent African-American performers of traditional spirituals. The band demolish all preconceptions about themselves by presenting a program of heavily rearranged, well known African-American spirituals and 19th century art songs. The blend of Birdsongs' cutting-edge instrumentation with the strength and majesty of Moses' voice creates a very unorthodox yet deeply moving sound, which The Noise called, "Totally sublime and deeply moving." This collaboration represents a new experiment from all parties - something of a meeting at the crossroads between two creative parties passing in very different directions. Together they bring these centuries-old songs kicking and screaming into the 21st century.
"These aren't just African-American songs - these are American songs." - Oral Moses.
"This CD is one of the coolest things I've ever heard. I'm a big fan of choral music and spirituals, and Oral Moses has an incredible voice. Fascinatingly unique settings -- aptly titled! I'm sure this is going to be a favorite." - Paul Erdman |
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THE IRIDIUM CONTROVERSY
RUNE 179
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Dubbed “the world’s hardest rocking chamber quartet” by the New York Times, Boston’s Birdsongs of the Mesozoic creates innovative instrumental music that fuses rock, classical, minimalism, punk, garage/pop, and jazz. Two keyboardists (one on grand piano and one on synthesizer), guitar, saxophone and electronic/computer percussion produce a unique sound that fuses the youthful energy and anarchism of rock with the structure (and process) of classical music. The result is simultaneously abstract and accessible, music without vocals with broad popular appeal. Called everything from ‘avant-progressive’ [Progression] to ‘heavy metal Baroque’ [Honolulu Weekly] to ‘avant-garage’ [B Side], Birdsongs’ hybrid sound may well be classical music’s new alternative, a ‘genetically modified’ hybrid that will breathe life and vigor into a musical genre that has grown rarified with age, increasingly irrelevant to modern audiences. The Iridium Controversy is a sophisticated work, a soundtrack to a primordial epic that harkens to the future as well as the past.
The cover art for The Iridium Controversy is by British artist and designer Roger Dean, world renown for his album covers for Yes, Asia and other rockers. Additionally, this is a HDCD audiophile release. |
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PETROPHONICS
RUNE 137
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Celebrating their 20th anniversary and 10th release, Boston's BOTM return with Petrophonics, their first in 5 years! Featuring the same personnel as Dancing On A'A, but with some changes in their sound, this record features electric guitar, acoustic grand piano, synthesizer, saxes/flute & electronic percussion/programming. The band have built on their past work; they have definitely brought something new to the table for this release. Their sound, which combines rock, modern classical, punk, minimalism & free-form sound, is impossible to describe and immediately identifiable! With a large brace of great releases under their belts, they are,
"...one of the few bands whose music is always good and always improving."-C.W. Vrtacek. |
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DANCING ON A'A
RUNE 69
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Originally released in 1995, Dancing On A'A was the first release by the fantastic, current line-up of the band, who just released the highly acclaimed Petrophonics release, and who will be appearing at Nearfest 2001! Upon its original release, Exposé wrote:
"...by far Birdsongs' most impressive effort to date, one I'll recommend highly to the fan & newcomer alike." |
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THE FOSSIL RECORD 1980-1987
RUNE 55
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The Fossil Record is all unreleased material by the original lineup (featuring Roger Miller) & an excellent overview. ''Birdsongs Of The Mesozoic has found a common ground amoung garage band rock, classical, minimalism, UK progressive rock, and it's own favorite noises.''-The New York Times. ''...fantastically innovative music.''-Exposé. ''...a fresh & almost indescribable fusion of rock, jazz, modern classical, sampled sound & noise.''-The Boston Phoenix. |
THIS TITLE IS OUT OF PRINT
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PYROCLASTICS
RUNE 35
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Pyroclastics continues & builds upon their signature sound that 1st emerged in the early 80's. It is the final Birdsongs album to feature original guitarist Martin Swope.
“The album not only lives up to its title (look it up), but also rivals the band’s astonishing first album, Magnetic Flip, for sheer musical pleasure. Partly responsible is a newly unleashed feel for gritty textures and pressing melodies that gives the tunes resilience without shoving them in your face…Of course, that would be just art moves without the Birdsongs’ sense of play in the calmly twisted musical ideas (tuneful shortwave noise, clinky percussion, unique instrument combinations), and the covers (the Simpsons’ theme and tunes from the two Brian’s, Wilson and Eno). …It doesn’t just take superior musicians to pull off this music, but musicians working as a real ensemble. The Birdsongs manage the mood and tempo shifts in the music while creating a clear, open sound that’s all the more attractive for its modesty.”–Lang Thompson, Option, #44 |
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FAULTLINE
RUNE 19
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Faultline continues & builds upon their signature sound that 1st emerged in the early 80's. ''...fantastically innovative music.''-Exposé. |
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