If the characters of the 1972 film classic Cabaret all each had a sinister twin, they would most probably produce a sound rather similar to Birdeatsbaby's third studio album 'The Bullet Within', due for release on July 21st. Originating from the seaside town of Brighton, the band established themselves with their melodramatic, noir rock sounds in 2008 and return this summer with further promises of dark twists, turns and dark magic that Birdeatsbaby are so apt at delivering.
The Bullet sets the metaphorical stage for the album as Mishkin Fitzgerald's clear, cutting vocals creates a strong presence, as though her voice is located in your head rather than your speakers. When I had first heard the term 'Cabaret Rock' I fully admit I had no clue as to what the genre consisted of, however within the first minute of The Bullet I fully understood it's meaning. The first half of the track takes a broken, staccato approach to the piano, incorporating all the exaggerated musical gestures of theatre. An unexpected twist is then taken following the bridge as it all smooths out into a haunting outro. Drinking In The Day, the following track, should be provided with a health warning for the emotionally fragile. A mournful tale of falling into a downward spiral, the song delivers all the raw, naked emotion of a Greek tragedy to Drinking In The Day while the minor key of the piano, against the subtlety of the violins, creates a tale of heartache that could easily succeed in breaking apart even the toughest of souls. In order to avoid the album falling into the danger of drowning in such cutting emotions, Enemies Like Me stomps in with a Hammer Horror intimidation, with violins breeding a perfect, sinister creation which builds melodramatic tension to a climatic crescendo before dropping it's tools to transform into a hauntingly beautiful, melodic piece with delicate notes.Duets between piano and violins are the album's main staple which creates a serene transition to each track, especially into the ethereal track Ghosts. Mishkin's emotive vocals produces a Gothic, Victorian romanticism while Tessa Gilles succeeds in drawing us into the unknown as she works her way intricately around the violin. Arguably The Bullet Within's strongest track, Ghosts contains the tortured poetry akin to 19th Century love stories such as Wuthering Heights and Great Expectations. Hands of Orlac suddenly contributes an aggressive kick to the album, smashing apart any false sense of security the listener may have lulled into by forcing us into an attentive state as we weave through a tale of personal angst, emphasised by sharp guitar work courtesy of Garry Mitchell.
Into The Black returns to the album's core of decadent Cabaret rock, followed by a haunting chorus for an Interlude. It's more appropriate to refer to the second half of the album as 'Act 2' as we are treated to catching basslines on the guitar heavy track Tenterhooks before mellowing into the dark fairytales of Spiders, which guest features Gabby Young, and The Lighthouse, both flowing perfectly with touching tenderness. The Bullet Within opens with unabashed, dark energy of noir rock and so I was expecting the album to follow full circle and end on an equally dramatic note. However things are never as they seem with Birdeatsbaby and The Bullet Within is the audio equivalent of becoming lost in a dark forest full of strange and wonderful creatures. The album closer, Silence, provides a still eeriness with whispering vocals floating above the twinkling piano line before the anger and determination is directed into Katha Rothe's explosive rhythm before simmering back down into a soft, mournful tale which fades the album out.
The Bullet Within contains all the unique features that makes Birdeatsbaby a truly exceptional band with theatrics, Cabaret and noir art rock all tied together in a black, velvety package that Tim Burton himself would be envious of.
The Bullet Within is due for release on 21st July.
Meanwhile, follow the band on Twitter over at @birdeatsbaby
