Birdmonster, a name that sounds like it came from a horror
film, is a foursome from San Francisco, California whose thunderbolts
of '50s rock jabs and modern rock energies bulges with unbridled
urges and impassioned brawn. Their full length debut disc No
Midnight was produced by Bradley Cook (Foo Fighters,
Queens Of The Stone Age) and the band enjoys melodies with
thickening treatments from the banjo, cello, melodica, and piano
parts which purvey a Cursive style coterie.
Lead singer and guitarist Peter Arcuni has similar vocal
buckles to singer/producer Charlie Sexton and the active
guitar playing of Lucero. The hooks and pelts by guitarist
and piano player David Klein are buffed with melodic intricacies
from multi-instrumentalist Justin Tenuto carting tumbrels
of bass, slide guitar, melodica, and banjo parts. Behind the grooves
and tempo rates is drummer and cellist Zackary Winter.
A lot of serried instrument slings and crenellated movements are
going on in Birdmonster's songs, which keep them brisk, extroverted
and conditioned with fluxing tempo changes. The intercepting lines
are spirited and the chord progressions are made effortlessly.
The music exudes a combination of garage rock gaskets with roots
rock chops and jam band blues heartiness rolled up in impulses
The garage rock ethers on "Skeleton Suit" preen of rugged
milling, yet are polished with refined motions. The songs are
top heavy in bass grooves and shooting guitar lutes like on "Balcony"
which generates a Mogwai furling wrangle. The instrument
parts work in harmony with each other yet burgeons with individual
incandescence. "Alabama" layers the arrangements with
a Stained-style excitement and project interspersing music
fragments that build up and spills out. "The Bar In The Back
Of The Basement" propels eerie guitar vibrations along sallow
bass movements and country western cycling. There is a Johnny
Cash charring on the number.
The title track is a conciliatory ballad, which emotes of acoustic
guitars and vocals at the base with distinctive banjo sessions
nuzzling the country/folk contents. The angular linings on "Sparrow"
collide, creating velocity and hoops of rootsy rock tones. The
boorish vocals on "Of Mice" smash and crush as the melodic
turns balk and blare. "What's With Your Brain" carries
a Rhett Miller (from the Old 97's) vocal tone with
over-arches of instruments that lobe like musical carousels while
the melodic acoustic sessions on "Ice Age" drift along
marching band drum rolls and strong, crisp guitar lancing. The
music arouses and ignites while keeping a melodic constitution.
The final track "Spaceman" clutches indie-pop décor
with cute, lighthearted twizzles similar to The Unicorns.
The bass moves are prominent as the instrument parts combust and
rustle. The track includes a taillight of acoustic guitar series
and bare vocals adorned with country/folk brigades and a romp
of handclaps. The album concludes with a front porch style jubilee
and jamband spontaneity.
To sum up Birdmonster, they are self-expressive and make jamming
a way of life for themselves. The movements induce energy and
sustain a momentum of shifting tempos that come off effortless.
There is not a dull moment on the album.
1. Skeleton Suit
3. 'Cause You Can
5. Bar In The Back Of The Basement
6. No Midnight
8. Of Mice
9. What's With Your Brain
10. All The Holes In The Wall
11. Ice Age
12. Ball Of Yarn
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