Music For Dead Birds
Born on separate continents in 1988, Music For Dead Birds began making music together after meeting in the summer of 2007.
Shortly after forming, we retreated from society and fabricated a hut out of the bones of extinct Irish elk on a stretch of blanket bog in an unpopulated parish in the West of Ireland. Utilising four track recorders powered by the ghosts of said elks, we recorded our debut album 'And Then It Rained For Seven Days..' for the Irish label Rusted Rail. We left the comfort of our isolation intermittently during this time in order to play with bands who were actually bands, such as Phosphorescent, Villagers, O'Death, Tenpastseven, The Ghostwood Project & LITE.
Growing tired of interacting with crowds and not instantly becoming internationally renowned and well-to-do artists, we took an unofficial hiatus from live shows and returned to the hut. 'The Pope's Sister' was then recorded but the spirit of the ghost elks grew weak from overhead wi-fi signals and after the completion of the album they transcended to the astral plane for eternity.
Having to admit defeat and reintegrate ourselves into civilisation, we began to construct 'Vitamins', an album of ten songs which would be recorded in a studio. We hope that you will be bothered to listen to it despite all of the interesting things that are instantly accessible on-line.
With a plethora of fuzzy, angular riffs and unpredictable rhythm shifts at their disposal, the lo-fi aesthetic throughout their album 'The Pope's Sister' is at once hugely original and amazingly accessible. Most definitely one for fans of slacker lo-fi bands such as Sebadoh, Polvo and Soul Coughing." BBC Radio Ulster
Filled with angular and well constructed songs “The Pope's Sister” is an intriguing collection from Irish band Music for Dead Birds. With the songs dominated by rhythm and heavy guitar lines, there is an uneasy backbeat to the tunes, something evident on the excellent “The Only Male Nun in Town”. , whilst on “The Doctor's Daughter” a dream like state is invoked, samples of speech adding to the fragility of the song. By the time you get to “Release the Dogs” you find you are fully immersed in the album, the twisted guitar lines hooking you in with relentless ease, only releasing as the last strains of “The Electricians Father” fade away. Terrascope Reviews