Dark Bird
Long Gone
Alien Girl Records, 2007
By Sal Hassanpour
The first words that greet me when I open the cardboard gatefold CD case that houses Dark Bird’s first full length album is “Thank You.” What for? Actually buying a compact disc in an era where, increasingly, the only two legitimate formats are digital files and in a curious reversal, vinyl? Perhaps. For supporting independent/local musicians? Could be it’s for all the people who’ve come out to the Tranzac residents’ (seemingly the only venue they play in town) live shows? Maybe Dark Bird are just a really nice bunch of people.
Whatever the case may be, once the static hiss and the ambient bass hum of “Point A” dissipates, “Facsimile” starts up with an acoustic guitar, a crunchy lo-fi beat and a twinkly broken synth line, all of which back main-Bird Roan Bateman’s subdued Neil-Young-like voice. The lyrics, which are found along the insides of the beautiful sleeve that houses the disc use nature metaphors effortlessly to speak of emotions, and are perfect for drab and wet autumn days. This is music to sip hot cider to, curled up in a sweater.
The gentle guitar reverb of “Burning Hearts” helps carve out leg-room for Melissa Boraski who harmonizes with Bateman on half the album. The vocal delivery of both is considered, and so seduces your attention. The Dark Bird approach to songcraft is that rarest of things: careful, but without a hint of preciousness. And so the Durutti Column-like guitar line halfway through the upbeat (by Dark Bird standards) “Right Behind Me” makes perfect sense.
In fact, that whole soft ambient dream-pop sound of bands like Felt, Montgolfier Brothers and Gnac is a huge influence here, especially on album highlight “Outside of Time”. Others would be some of Dark Bird’s Canadian ambient electronic forebearers — such as Beef Terminal, The Hermit and pretty much any intr.version label artist, an influence best heard on closing track “On The Ocean”. Finally, Dark Bird picks up on that “lost-in-the-pinewoods-on-a-foggy-midnight” vibe that seems to inform the darker moments of Bonnie “Prince” Billy, or for a more local reference, Timber Timbre. This is best heard in the cold, magisterial echo chamber of “Deep In The Woods,” “where the forest blocks the light.”
The last quarter of the album relies on electronic gear and what we are left with is their weakest songs. “Walk With Me” and “Animals Hide” will work better live, but are not as poignantly memorable as everything else on the album.
That minuscule complaint aside, Long Gone is without question one of the best Canadian independent releases of the year: I’d known Dark Bird’s full-length would be good, but the result has exceeded even high expectations — and so, thank you, Dark Bird, many, many times.
Long Gone is available at Soundscapes in Toronto. Everyone else ought to try Alien Girl Records, or can contact the band via their MySpace.
