Birdsongs of Mesozoic
Pyroclastics

Progressive is a typically European musical phenomenon as classical music develops and becomes popular mainly on our continent. Therefore, it's logical that at some point, a fusion at various levels between rock and classical music occurs, giving rise first to the so-called "baroque rock" and then to progressive. The musical roots of the United States, however, are different, and it is equally natural that American rock is more influenced by indigenous music genres such as blues (from which it derives) and jazz rather than classical music.

For this reason, progressive in the United States has always been rather marginal, and the bands that have achieved some notoriety beyond a purely niche market are primarily three: Kansas before their commercial turn, Pavlov's Dog, and Birdsong Of Mesozoic. The first have been musically dormant for years, the second disbanded decades ago after releasing only two magnificent albums, and currently, the only band from the old guard still upholding the American progressive flag is Birdsong Of Mesozoic.

Birdsong Of Mesozoic was formed in the distant 1981. The group consists of four musicians well known in the American underground music scene: the multi-instrumentalists Roger Miller and Martin Swope, both veterans from the breakup of a band as original as it was misunderstood like Mission Of Burma, Rick Scott, organist and drummer, and Erik Lindgren, keyboardist and electronic effects wizard emulating Eno.

In 1983, they released their first album, the EP "Birdsong Of Mesozoic," followed by "Magnetic Flip" (1984), "Beat Of Mesozoic" (EP, 1986), and "Soundtracks" (1987), all entirely instrumental, all extremely original. In fact, their music is hard to categorize; it’s a mix of free jazz and electronics, chamber music and cacophonic music, minimalism à la Steve Reich, and maximalism à la Glenn Branca with some sprinklings of Frank Zappa and Penguin Café Orchestra here and there. In reality, the four grind and mix various musical genres with absolute freedom, and the result is something new and indecipherable. The main characteristic of their sound is the "percussive" sound of Miller's prepared piano that sets the tone for the intricate intertwining of keyboards and synths and the electronic percussion's tempos and counter-tempos, now tribal, now exuberant, all immersed in a sea of effects, tapes, echoes, clusters (courtesy of Lindgren) and more.

Their continuous reference to prehistory is also peculiar, in iconography and song titles but not only. In their sound, the tribal and heavy percussion simulate the ponderous gait of the great reptiles, and their sudden tempo changes evoke the oblique flights of pterodactyls and other winged beings in the wild skies of millions of years ago. It isn't easy music, indeed. Sometimes, Birdsong Of Mesozoic exaggerates and puts too much into it, with the result that the abundance of polyrhythms, dissonances, and effects created by the profusion of keyboards (up to three) make the sound too "full," with the result that listening becomes demanding and risks becoming tiring.

In 1988, the restless Roger Miller left the band to form No Man and was replaced by reed player Ken Field. The change perhaps benefited the band since Field's jazzy sax instead of Miller's percussive piano makes the sound more "light" and accessible. With this lineup, Birdsong Of Mesozoic released "Faultline" (1989) and "Pyroclastics" (1991). "Pyroclastics," mostly written by Lindgren, who is now the undisputed leader of the group, is a varied and pleasant album containing several note-worthy tracks.

"Pleasure Island" is soft and lunar jazz, "I'm A Pterodactyl" is a furious instrumental ride à la Glenn Branca, "Why Not Circulate", written by Field, is an eccentric jazzy bossa nova with a backdrop of distorted guitar played by Swope. Birdsong Of Mesozoic reveals their close kinship with European avant-garde rock with "Sled", a horror film-style intro with solemn advancement that would not look out of place in an album of the more electric Univers Zero or Art Zoyd, and "Tomorrow Never Came", airy and jazzy, influenced by the sound of Brian Eno's early solo albums. The Maestro is then appropriately celebrated by Lindgren with the cover of "Sombre Reptiles". The other two covers on the album are "Our Prayer" by Brian Wilson, featuring Field's inspired and poignant sax, and a lively and "cool" "The Simpsons", a tribute to the world's most famous "yellows".

After "Pyroclastics," Birdsong Of Mesozoic released "Dancing in A'A" (1995), "Petrophonic" (2000), "The Iridium Controversy" (2003), and "Extreme Spirituals" (2006), commendable and unique albums, although in the latter, a gospel album with baritone Oral Moses on vocals, the group significantly changed its sound compared to their usual repertoire.

N.B. I reviewed "Pyroclastics" instead of any other album, perhaps considered better (for example, "Faultline," which critics consider their masterpiece) because while Birdsong Of Mesozoic's works are usually out of print or hard to find, this one is easily available at a bargain price. I bought it by mail order for 5.90 euros, with a quality-price ratio that is decidedly favorable.

Best regards to everyone, and happy searching!