THE IRIDIUM CONTROVERSY

This is my first taste of "Birdsongs" music and I am taken with it. Many Progressive rhythms, elements of jazz, classical and rock. This is instrumental music. Sax, Guitar, Keyboards, Synths are delicate and percussions galore. Song lengths between 3 and 7 minutes in length. Beautiful shifting textures, flowing jazz lines, a little hip-hop beat now and then with a diverse range of percussive instruments. Only four members are listed although five others appear on the album, one of which, Roger Miller, was a former band member. The other four are percussionists.

Fans of classical and jazz music may enjoy this album. At times is reminds me of Bill Brufords Earthworks (first album, at least). Prog-metal fans might have a hard time understanding it. The guitar lines are rich and tasteful, never bombastic, occassionally Holdsworthian.

Birdsongs of the Mesozoic is one of the most consistant bands in its style, a mixture of RIO and Psychedelia (in my opinion). "The Iridium Controversy" marks a different but similar path for the band, assuming a higher level in the prog world now, much higher that the one they had in their beginning, birdsongs follows the formula of 1988's "Sonic Geology", but now replaces the chaotic chamber music-like transitions to a thicker atmospheric background, that sometimes becomes the main ingredient in the band's music.

Anyway, i give it 4 starts, i've heard better albums by the band, but you can't discard this one.

I do not know well the other discs of "BIRDSONGS OF THE MESOZOIC", but this one is a true wonder. The originality of the sound, the excellence of the compositions and the instrumental control, culminating in a piece like "Sherpas One Parades", really impressed me. Very very recommended to the fans of RIO and Zeuhl or classical music.

Béla Bartók lives on!

Birdsongs of the Mesozoic, 2003, "The Iridium Controversy " is kind of forgotten, even though they come from the USA, which usually brings on a wider audience. Nevertheless completely understandable, considering the kind of non-stop intensity this guys usually handle, but mainly because their contemporary classical music roots, which sets them apart in this sub-genre's different stylings. So just to paint a clear picture, their musical "structures" stand closer to the latter Universe Zero's or Art Zoyd's (although not that "serious"), than Zappa's or The Residents' or Zamla's.

All of this of course, without losing the "humor" (but not caring really that much) or the "idiosincracies" of this sub- genre. Their songs run free in different and varied directions, but the intensity in each enhances their very structured musical language as composition and performance go.

What to expect? For starters completely "instrumental", then, composition-wise: "Bartokian" counterpointing like rhythms, clear references to Steve Reich's "micro-minimalism", lots of free-Jazz and electronics, with some howling electric guitars and saxes. Blended with punk and rock and classical music lines, some "dark-ambiental" moments, as some unorthodox "latin" flavors, mixed up with a unique and original style that never runs dry of musical ideas, creativity or proposals.

****4.5 "intense, intense, non-stop RiO/AV", PA stars.

Not for everyone, but "gold" for those who enjoy this kind of trips!

P.D. And of course the deserving Roger Dean art cover pays for itself!