Birth Order "Albatross" Album Review
Review by: Matt Spraungel, Writer @mattysprinkles
Edited by: Andrew Perrizo, Owner/Editor @melodicnoisemedia
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Those with a penchant for the more abrasive stylings of music are afforded the opportunity to be as picky as they’d like. Naturally, this courtesy is also extended to those making the noise. Death metal, black metal, doom, or in this case hardcore, you can carefully follow the instructions, or you can be a little more daring. For those of us that prefer the latter, it is not only encouraged that you methodically design your particular flavor of rage, it is much appreciated.
It is a neat trick when a band on the heavier side of the spectrum can move through multiple moods across the span of a single song without ever losing the plot. Much to my elation, on their new album Albatross, Minneapolis based Birth Order regularly perform this feat with abundant ease. Their sound is a type of noisy, melodic hardcore, with a foot in the metal camp, a dash of punk n’ roll, and a little bit of a tender side. As much as this listener enjoys being absolutely pummeled throughout the entire runtime of an album, it can be very nice to have some room to breathe. This is a sentiment echoed by the band.
Albatross forgoes the come out swinging approach, instead we are met with gentle tambourine, mellow acoustic guitar, and calm singing, “God is in everything, God is in everyone.” This is a listening experience that offers some brevity with its heft. It rises, then falls under the emotional weight.
After the mood setting opener, Albatross begins proper with “Augur,” and here comes the swinging. With wild shouting, rhythm section in swaggering two step, and riffing that wouldn’t be out of place on a mid-era Black Flag offering; this is proper hardcore. Just as soon as I’ve mentally classified what this band is made of, the punk vibe unfurls into much more furious territory. There’s a backing melody in the heaviest moments of the tune that gives the impression of a demented mellotron. It’s these little touches that give Birth Order a singular, and memorable edge.
On “Zero Zilch Nada” and “Abigail,” we’re treated to more of guitarist Nick Solem’s tension-rife note choices. The music feels labored over, but never overcooked. It’s often tempting in the writing process to be overly sentimental about favorite riffs, and revel comfortably in them. These folks clearly understand their craft and know when it’s time to move. The songs take surprising turns, yet they never give the impression of disparate part-stitching. The detours feel earned, and correct.
At the half way point, we arrive at “Summons.” Our first reprieve from the beat down since the album’s somber opening. This track does a couple of really important things. Of course, it’s nice to have a change of pace, but more importantly this feels like a piece of the puzzle connecting the quiet moments to the main body of work. It is driven by a patient pulse, beautiful throughout the nearly seven-minute runtime. Naturally, the band injects some signature clangor into the song’s climax.
Just like that we reach “The Hutch,” one of the more ferocious offerings on the album. Here, the live tracking, and naturalistic production really shine. The twisting, forward propulsion from bassist Cole Overby and drummer Ian Sutherland is in glorious lockstep. It feels like a live rhythm section. It breathes like a rock and roll band. Biting guitar lines glide over contorting passages and give way to one of many notably anguished vocal performances from Evan Clark, as well as some of the more center stage sampling on the album. Not to be outdone by earlier offerings, there is no second half quality dip to be found. “Defector” and “Pillage” display more of the quartet’s tightly honed pivots and desperate pleas.
Penultimate “Attainment” spends its earlier stages moving gracefully. Delicate piano flourishes atop snaking guitars, and restrained singing, quietly building to a ferocious crescendo. This is the true climax of the album, all of the cumulative angst, and hopelessness dovetail, rearing its head and of course, ultimately crumbling into decay. Obligatory feedback recedes into the white noise of field recorded nature sounds. If “God Can Be Anyone” operates as prologue, “Happy Music” becomes our epilogue. We have come full circle. When you bookend a record as heavy as Albatross with these delicate acoustic moments, there’s an inherent risk of creating a disjointed listening experience, but like everything Birth Order does, it works. This is a band that knows where it wants to go, by way of bludgeoning waltz, or ferocious blast beat, they walk the path with staggering confidence. Whether or not this is indeed “Happy Music,” is open to interpretation. I’ll let you know after another spin.
Follow the band on Instagram: @birth_order and listen to their music on Bandcamp: birthordermn
