Birdsongs of the Mesozoic w/ Roger Miller

Birdsongs of the Mesozoic, “the world’s hardest rocking chamber quartet” [New York Times], began nearly 30 years ago as a more classical/New Music, keyboard-oriented side project of Boston’s famed post-punk rock band, Mission of Burma. Desiring an outlet for his piano music, in 1980, Burma’s guitarist Roger Miller embarked on a collaboration with keyboardist and studio producer Erik Lindgren, the former composer and keyboardist of Moving Parts, the Boston art-punk band that had spawned Burma. Perhaps because of their tie to the ever-popular Burma or perhaps because of their sheer excellence, Birdsongs Of The Mesozoic earned international recognition for their innovative sound. Their unlikely mix of rock, punk, classical, minimalism, and free-form sound appealed to a broad range of musical tastes.

As Roger remembers in the liner notes, "If I had to say what I thought was most unique about the band, it was that we actually played rock clubs and basically pulled off this rather unorthodox thing. Well sure, we pissed off some rockers (“Just look at ’em up there, shuffling their papers!”), but that wasn't really our concern. If this odd quartet wasn’t about as different as you could get and still play those venues, well at least we put up a pretty good fight." Rick Scott comments, "We were always the square peg in a world of round holes. Our instruments weren't bass, guitar, and drums, but guitar, three keyboards, and drum machine (with turntable, water can, washboard, and abbreviated clarinet thrown in for good measure!). We played in rock clubs, but read from sheet music. We shared the stage with three-chord rockers, but played music from Brian Eno and Igor Stravinsky, and covered the theme from 'Rocky and Bullwinkle'. It boggles the mind how we got away with it."

In the mid-80's Birdsongs toured extensively throughout the United States at venues including The Kitchen and Danceteria in NYC, the Orpheum and the Boston Shakespeare Theatre in Boston, Northwestern University, the 40 Watt Club in Athens GA, and shared stages with Echo & The Bunnymen, Siouxsie & The Banshees, Einsturzende Neubauten, Skeleton Crew (Fred Frith & Tom Cora), The Fall, Throwing Muses, Ran Blake, They Might Be Giants, and Psychic TV. In 1987, Roger Miller left the group to concentrate on solo projects and was replaced by saxophonist Ken Field. In 1992, guitarist Michael Bierylo replaced Martin Swope, who moved to Hawaii. Since then the ensemble has recorded 9 CDs for the Cuneiform, NEARfest, and Pel labeland has collaborated with NPR correspondent/Duplex Planet editor David Greenberger on 1001 Real Apes and bass baritone Oral Moses on Extreme Spirituals.

BIRDSONGS OF THE MESOZOIC
DAWN OF THE CYCADS:
The Complete Ace of Heart's Recordings (1983-1987)
CUNEIFORM [RUNE 274/275] 2008
LISTEN: Ptoccata [mp3]

Lineup: Erik Lindgren (Minimoog, Memorymoog, rhythm machines, percussion), Roger Miller (grand piano, Yamaha CP-70 piano, percussion, organ), Rick Scott (Farfisa, DX-7 synthesizer, percussion, piano), Martin Swope (guitar, percussion)

For the first time ever, this 2-CD retrospective contains all of the band's 3 recordings for Ace of Hearts (Birdsongs of the Mesozoic, Magnetic Flip and Beat of the Mesozoic) and are reissued in their entirety and in the order in which they were originally heard when they were first issued. In the the words of Erik Lindgren, the remastering done here, "sonically makes their Sonic Geology [1988 Rykodisc collection] package irrelevant." This new retrospective comes with a 20-page booklet of notes and photos and there is a huge wealth of totally cool CDRom material - 175 photos, art files, set-lists, dioramas, letters, documents and more. Additionally, there are two studio tracks and seven live tracks, none of which have ever been heard before, for over 45' of bonus material.

BIRDSONGS OF THE MESOZOIC
with ORAL MOSES
EXTREME SPIRITUALS
CUNEIFORM [RUNE 241] 2006
LISTEN: Joshua Fit the Battle of Jericho [mp3]

Lineup: Erik Lindgren (acoustic grand piano), Rick Scott (synthesizer), Ken Field (sax, flute, percussion), Michael Bierylo (guitar/programming, sound design) Oral Moses (vocals-bass baritone)

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.

Press Quotes:

“…even on an album like this one, which departs about as radically as one could possibly imagine from their usual repertoire, you can tell immediately that it's a Birdsongs of the Mesozoic album within the first eight bars of the first track. There's something about that staccato piano sound, or about the unison guitar-and-synth passages…that links…this dramatically different album to its predecessors… What makes it so different is that it's a gospel album, one that pairs the rich, chesty baritone voice of Oral Moses and his repertoire of traditional hymns and spirituals with the adventurous and sometimes experimental arrangements of Birdsongs of the Mesozoic. … What's surprising is how powerfully well the combination ends up working. Moses' voice turns out to be more than strong enough to stand up to the Birdsongs' sharp electric attack, and on tracks like "Joshua Fit the Battle of Jericho"…both elements seem to be firing each other up to greater heights of musical intensity. On the relatively soft and gentle "Sometimes I Feel Like a Motherless Child"…each party seems to have led the other to think in new ways about the source material. The result is an album rich with meaning and musical power. Very highly recommended. 4/5 stars”
– Rick Anderson, All Music Guide, www.allmusic.com

“What do spirituals sound like on other planets? Probably like this. Veteran experimentalists BOTM team up with bass-baritone Moses to give traditional standards…an extraterrestrial sheen. Gospel purists should either stay away or prepare to have their minds blown. Moses sings these favorites straight and sturdy, giving the band room to throw swatches of atonal, polytonal, and at times microtonal synth, piano, saxophone, guitar, and percussion at them. The arrangements are bold and brash and, in an outrageous way, get to the meat of the songs. …What would Jesus do? Probably jump up and shout “Amen!”
– Peggy Latkovich, Dirty Linen, #129, April/May 2007

“One of the most off-beat ideas to come across my desk in a long time is a collaboration between electro-prog band Birdsongs of the Mesozoic with Oral Moses, who is a singer of spirituals. …it approaches…recordings that never should have been made, but you're so glad they were anyway… this is precisely what makes this music interesting to listen to for me. There's never a moment I'm listening when I'm not questioning why they chose to do this: it's very unsettling, which is at the heart of what a truly new sonic experience is.”
– Frank J. Oteri, New Music Box, www.newmusicbox.org

“Known for off-the-beaten path compositions…Birdsongs of the Mesozoic’s seventh studio excursion is a bit of an experiment even for them. For Extreme Spirituals, BOTM adapts a number of “spirituals,” odes sung by guest vocalist Oral Moses, possessor of an unearthly baritone that easily transposes to bass. Gospel prog? … The instrumentation is consistent with the Birdsongs sound, propelled by Erik Lindgren’s grand piano, Michael Bierylo's guitar, Ken Field’s sax & flute, and Rick Scott’s polysynths…. The lion’s share of the tracks are arranged by Lindgren, but one of the more striking arrangements is Bierylo’s “A Little More Faith In Jesus,” and pretty close to rockin’ it gets... The somber veneer of “…Motherless Child” reigns in the classical opera [oeuvre, channeled] by Moses’ mournful performance and Lindgren’s & Field’s piano and flute. … The upbeat “Great Day” is the most anthemic piece, bolstered by bright string pads, fortitudinal piano, and a sax melody… ”Oh Freedom” is another more ambient piece, floating and serene. … 3 1/2 stars.”
– Elias Granillo, Sea Of Tranquility, March 25, 2007, www.seaoftranquility.org

BIRDSONGS OF THE MESOZOIC
THE IRIDIUM CONTROVERSY
CUNEIFORM [RUNE 179] 2003
LISTEN: Primordial Sludge [mp3]

Lineup: Erik Lindgren (piano), Rick Scott (synthesizer), Ken Field (sax, flute), Michael Bierylo (guitar)

Guests: Roger Miller (piano), Larry Dersch (drums), Terry Donahue (percussion), Eric Paull (drums), Ken Winokur (percussion)

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.

Press Quotes:

“…The group’s two surviving original members, Erik Lindgren and Rick Scott, both play keyboards…piano drives much of the album. Rhythmically, “Make the Camera Dance” and “Beat of the Mesozoic”…recall Philip Glass and Steve Reich’s ostinatos, while the two-part title track suggests Michael Nyman and Rhys Chatham’s brass-band beats…the album is tight and propulsive…Birdsongs is a non-rock ensemble that hasn’t forgotten its garage-band roots.”
– Mark Jenkins, The Washington Post, Sept 5, 2003

“…pleasant, idiosyncratic progressive music…an immediately identifiable sound, catchy and unusual melodies, and some nice orchestrations…they occupy their own particular place between 20^th Century classical, progressive rock, minimalist and installation music.”
– James Beaudreau, Signal to Noise, Winter 2004, Issue 32

“…this is one of the most intricate, melodic and downright gorgeous records you’re likely to have heard in this vein for years. …their music is warm, stuffed with invention and references that range from Darius Milhaud to Canterbury scene prog to ambient techno.
What makes their music work is the combination of strong compositional skills, a highly distinctive feel for tone colour and flawless, detailed production… Bubbling, restless electronics, prepared pianos, skittering percussives and discreet atmospherics drive the whole thing along while Ken Field’s fruity saxophones take much of the melodic duties… Some of their themes recall the grand statements of Zappa or Hatfield and the North, yet there’s a distinct lack of either pomposity or tweeness. It’s a difficult act to pull off, but by Jove, they’ve done it. The Iridium Controversy is fantastically detailed, intricate stuff that gets better with each listen…recommended for both prog heads and neo-classicists alike.”
– Peter Marsh, BBC Online, Oct. 6, 2003, www.bbc.co.uk/music/experiemental/reviews/

“…Birdsongs have indeed refined their all-instrumental fusion of rock, jazz, and neo-classical composition. Though most tracks are no more than five or six minutes long, each one is so full of subtly integrated textures and mood shifts that it feels like a kind of mini-symphony. THE IRIDIUM CONTROVERSY, while a very modern-sounding affair, bears a timeless tone…”
– Muze.com

BIRDSONGS OF THE MESOZOIC
PETROPHONICS
CUNEIFORM [RUNE 137] 2000
LISTEN: Petrophonics [mp3]

Lineup: Erik Lindgren (piano), Rick Scott (synthesizer), Ken Field (sax, flute), Michael Bierylo (guitar)
Guests: Terry Donahue (percussion), Pacey Foster (turntable), David Greenberger (voice), Eric Paull (drums), John Styklunas (bass), Ken Winokur (percussion)

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.

Press Quotes:

“…Throughout these well-conceived and expertly performed arrangements, the band pursues airy voicings with a rough hewn edge marked by a few nods to classicism and the finer attributes of – archetypal – progressive rock…while many of these compositions boast multilayered passages, dynamic rhythms and poignant soloing, the band captures one’s imagination with memorable melodies, crunching ensemble work and truly spirited interplay as the strong writing often spawns wonderment. Ultimately, Petrophonics contains all the earmarks of a timeless classic and one that might rejuvenate the musical spirits from within, as this is one of those rare recordings that imparts a lasting impression.”
– Glenn Astarita, All About Jazz, www.allaboutjazz.com, Nov. 2000

“…an impressive set of progressive music that fuses rock, chamber music, jazz, and good fun. …complex constructions that pummel the listener with tunes that are as haunting as they are happy, and where dissonance and sweet melody battle for supremacy… The music is quirky and theatrical. …It’s nice to hear a band playing true progressive rock. …One of the better avant-progressive albums I’ve heard in 2000.”
– Jerry Kranitz, Aural Innovations, #14, Jan. 2001

“Chamber rock has a dubious reputation in some circles, looked upon as either sterile dabbling by slumming academics or pretentious overreaching by bored rockers. But the Birdsongs crew have arrived honestly at their present vantage point, and they give you no smoke and mirrors, no goofy musical jokes and no displays of gratuitous virtuosity. Nor do they strive for a particular, signature sound, or wear their musical influences on their sleeves. …This CD represents a perfect blend of ideas, ability and teamwork.”
– Bill Tilland, Alternative Press, v.15 #152, March 2001

“The music has matured and it’s still highly eclectic, ranging from contemporary music to avant-jazz and prog-rock… the album’s highlight is comprised in the…four tracks…Birdsongs wrote for the project 1001 Real Apes, a stage production with David Greenberger. This suite is as exciting as anything the band recorded in the past. The three-part “The Insidious Revenge of Ultima Thule” is another riveting piece of work, this one driven by Lindgren’s piano, a kind of avant-rock concerto that brings the album to a beautiful halt…”
– François Couture, All Music Guide, www.allmusic.com

BIRDSONGS OF THE MESOZOIC
DANCING ON A’A
CUNEIFORM [RUNE 69] 1995
LISTEN: A Band Of Deborahs (not Debbies) [mp3]

Lineup: Erik Lindgren (piano, synthesizers), Rick Scott (synthesizers), Ken Field (sax, flute, synthesizer), Michael Bierylo (guitar)

Released in 1995, this was the first release by the fantastic, current line-up of the band (Michael Bierylo-guitars and computer, Erik Lindgren-keyboards, Rick Scott-keyboards and Ken Field-saxes, flute and keyboards), even though they had been a working unit for over 3 years by the time they made this, which helped it to be a really strong release. "...by far Birdsongs' most impressive effort to date, one I'll recommend highly to the fan & newcomer alike."-Expose.

Press Quotes:

“…While other stable musical units might doggedly pursue the same style to perfection, Birdsongs aims for the anti-style. Anything that crosses genre boundaries is fair game for this group.
On Dancing on A’A, electric and acoustic instruments arrive at fruitful collisions. Birdsongs mix and match idioms like ingredients in the hands of a master chef. …On the title track, quiet collective improvisation eventually sparks a pulsing groove—which, in turn, pins down an anthemic melody with intertwining electric guitar and saxophone lines. …the magic of Dancing on A’A comes from the overarching (albeit twisted) vision of the group as a whole. This disc deserves attention from listeners with an interest in genre-defying adventurism…”
– Nile Jacobson, All About Jazz, April 2001, www.allaboutjazz.com

“…You can’t listen to Birdsongs flatfooted… Each piece is an exercise in unusual arrangements, unexpected twists and weird juxtapositions that careen across genres like Minimalism, rock, musique concrete, modern percussion music and Stravinskian Neoclassicism. Although this is a good description of most Birdsongs albums, Dancing on A’A – perhaps because it is the first release to include guitarist/percussionist Michael Bierylo – seems even more kaleidoscopic than their earlier releases. …I consider it their best work to date.”
– Don Labriola, Buzzz, #109, April 1995

“Stepping nicely beyond the conventional realms of harmony and melody, dissonance and power chords, the quartet known as Birdsongs is creating aural excursions exploring sonic landscapes by mixing composition and recording expertise. … “We’re all about different cultural influences and music, arranged in an unexpected way, with both reverence and irreverence,” say Bierylo. 3 stars. Highly Recommended.”
– Kevin J. Aylmer, New England Performer, April 1995

“I would call this “serious art” music… The tracks have a rich robust construction filled with highly textured instrumentation. Darker chords and moods are the norm, while the arrangements continually challenge the listener. Many of the songs are up tempo and have a snappy almost infectious beat.”
– Louis Hesselt-van-Dinter, Music Uncovered, #20, June 1995

BIRDSONGS OF THE MESOZOIC
THE FOSSIL RECORD 1980-1987
CUNEIFORM [RUNE 55] 1993
LISTEN: The Transformation of Oz [mp3]

Lineup: Erik Lindgren (piano, synthesizers), Rick Scott (synthesizers, clarinet), Roger Miller (piano), Martin Swope (guitar)

The Fossil Record 1980-1987 is the group's seventh release, and their 3rd on Cuneiform. The Fossil Record is a collection of rare & unreleased studio recordings by the original lineup of Birdsongs of the Mesozoic: Erik Lindgren, Roger Miller, Rick Scott and Martin Swope. The CD includes a 16 page booklet featuring archival band photos, a written history, and an appreciation by Boston music critic Michael Bloom.

Press Quotes:

“…studio demos, obscure compilation cuts and a film soundtrack by the original, Roger Miller-led lineup of this durable pulse-music keyboard group. …the alternate takes have a spark and vitality… and everything here is charged with an exhilarating avant-garde energy foreign to the band’s current, more polished incarnation. Even at its most dissonant and aggressive, this roiling, polyrhythmic music is informed by a wry, whimsical character rare in art rock and entirely absent from the minimalism of Glass and Reich… With booklet notes that include a band history and appreciation, The Fossil Record is the most vivid document to date of Birdsongs of the Mesozoic’s percussive, stroboscopic strain of minimalism, with all its rocky edges intact.”
– Michael Draine, i/e, #4 Summer 1993

“The quartet plays instrumental music with little respect for stylistic borders. Rock, pop, classical, and jazz are all grist for the mill, and the unconventional lineup on these archival tracks – three keyboardists, a guitar player and programmed percussion – allows the explorations of tonal and textural possibilities. Indeed, possibility is Birdsongs’ stock in trade. …The band avoids art-rock stuffiness by balancing serious inquiry and impressive chops with goofiness.”
– Bill Meyer, Option, #52, Sept/Oct 1993

“Yet another facet of Roger Miller’s personality… Birdsongs evolved as a keyboard-oriented studio project that stretched the limits of what a few revved-up, distorted moog synthesizers, a saxophone, and one guitar could do, albeit with no drummer…. Although all the pianos at once sound classical, the quirky rhythms of pieces like “Sound Valentine” are at turns especially rockin’, jazzy, chamber music. …you can really sit back and let your senses wander in and around the melodies and circular movements. Most pieces return to a motif where the pianos are nearly in harmonious sync before breaking off into fragmented noise lines and bizarre tonal bursts. At times this collections sounds like a hundred video games blaring, or a cartoon soundtrack.”
– Cyndi Elliot, Alternative Press, #64, Nov 1993

“Birdsongs of the Mesozoic is a band born out of…the art-punk group Mission of Burma. …This band offered quieter, more austere chamber-rock that emphasized keyboards, tape loops and an impish minimalism in arrangements. …“The Fossil Record” collects rarities and unreleased tracks from the initial band…”
– Milo Miles, The New York Times, Sunday Sept. 26, 1993

BIRDSONGS OF THE MESOZOIC
PYROCLASTICS
CUNEIFORM [RUNE 35] 1992
LISTEN: I'm A Pterodactyl [mp3]

Lineup: Erik Lindgren (piano, synthesizers), Rick Scott (synthesizer), Ken Field (sax, synthesizer), Martin Swope (guitar)
Guests: Willie Alexander (percussion), Ken Winokur (percussion)

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.

Press Quotes:

“With music that is every bit as evocative as their name, Birdsongs of the Mesozoic create a virtual reality that is both primordial and ultramodern. This album isn’t so much a collection of compositions as an out-of-body experience – saxophones squawk and chatter, flutter and glide over a sonic topography marked by percussion that is rugged and rocky one moment, intricate and mesmerizing the next. Synthesizers generate gusts of sound that sweep in and out of the tracks as pianos pound patiently or trickle in rivulets. Speechless stories unfold in sequences that are elegantly mournful (“I’m a Pterodactyl”), obsessively restless (“Why Not Circulate”), and obliquely sultry (“Sled”). There’s even a bout of plain old wackiness in the sextet’s surreal treatment of the The Simpsons theme… In spite of the mind-boggling scope of the music, Birdsongs are conscientious enough to deliver it in manageable chunks that are intoxicating rather than overwhelming.”
– Sandy Masuo, The Boston Phoenix, June 19-25, 1992

“It’s an humorous mix of sax, percussion, piano, synthesizers and samples. …one of the few bands with a distinct sound of their own.”
– Roger Karlsson, Sonitus, http://progmusic.com/sonitus

“…sheer musical pleasure…a newly unleashed feel for gritty textures and pressing melodies that gives the tunes resilience without shoving them in your face… 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

“Boston’s proud contribution to the world of true progressive music present their…strongest album to date. …The results are staggering. The Birdsongs have always exhibited a mesmerizingly complex use of keys and guitar, perpetually changing with a blend of Rock-In-Oppositions precision and joyful abandon. Field’s sax adds emotion to the mix. …This record is a pure delight.”
– Michael C. Mahan, Alternative Press, June 1992

BIRDSONGS OF THE MESOZOIC
FAULTLINE
CUNEIFORM [RUNE 19] 1989
LISTEN: The True Wheelbase [mp3]

Lineup: Erik Lindgren (piano, trumpet), Rick Scott (synthesizer, piano), Ken Field (sax), Martin Swope (guitar), Steve Adams (sax, clarinet)

In 1988 Rykodisc released a compilation CD "Sonic Geology", containing most of the material from their 3 vinyl releases along with two unreleased tracks. Not long after, Roger Miller left the group. He was replaced by saxophonist Steve Adams, who participated in the early recording of Faultline before leaving to join the Bay area's ROVA saxophone quartet. Saxophonist/keyboardist/percussionist Ken Field helped complete the recording of Faultline and became a permanent fourth member.
Birdsongs Of The Mesozoic could well be called the world's hardest rocking chamber music quartet. The band has earned international recognition for their innovative sound. Their unlikely mix of rock, punk, classical, minimalism, and free-form sound appeals to a broad range of musical tastes. Their instrumentation is also quite extraordinary: piano, two synthesizers, guitar, and saxophone blend with electronic and acoustic percussion, creating an end result that is rich in texture and pleasing to the ear.

Press Quotes:

“After a long break the Birdsongs are back; in the break they’ve lost one of their keyboard players and principle composer (Roger Miller), gained a saxophonist (Steve Adams) who departed…and was replaced by Ken Field. Inevitably there’s a change in their sound, but the overall result is a broadening of their range, rather than a completely new sound. …It is this ability to combine such disparate elements that makes the Birdsongs such compelling listening…there are some fearsomely heavy rhythms, moments of delicate beauty, grand sweeping neo-classical themes and blasts of near chaotic noise all somehow juxtaposed into a coherent whole. …A mature and diverse album which opens up many new possibilities for this unique and uncompromising group.”
– Alan Terrill, Audion, #14, 1990

“Saxophone rhythms swirl over a complex weave of many drums, counterpointed by minimalist piano and guitar lines that hark back to late sixties rock and…chamber music? Faultline is as good a title as any…it’s a place where different things come together, sometimes gently, sometimes with unstoppable force. The contrast of soothing with pounding, frantic with serene, is this band’s own territory, and it stakes it out with virtuosity and humor.”
– Richard Foss, L.A. Reader, 10/13/89

“For their first release since the departure of their former mainstay Roger Miller, the Birdsongs have added sax to their lineup and delivered their highest voltage set to date. Faultline opens with a riff that sounds like “Foxy Lady” in 7/4 time… After several intense tracks of that guitar slugging it out with squalling sax among the welters of synthesized noise and throbbing piano, the band gradually shifts into its “artier” mode, with quietly pulsing pieces reminiscent of the Birdsongs’ earlier work.”
– Goldmine 2/23/90

“Birdsongs of the Mesozoic has steadily forged a unique identity, juxtaposing contemporary classical music, avant-jazz, rock, and new age styles into an original sound. Yet maybe the most amazing aspect of the group is its fortitude. Birdsongs did more than survive the 1987 departure of pianist Roger Miller… their musical evolution has only broadened and refined since he left. The saxophones of Miller’s replacement…have added a new area of exploration… a group that remains commercially elusive yet widely accessible to those with a taste for unusual music.”
– Paul Robicheau, CD Review, Dec 1989

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