Wrathschild - Birds (EP)


Buy Birds on Amazon UK here
Read my other Wrathschild reviews here

I've long been fascinated by the fully formed musical universe that are the songs and performances of Wrathschild. Like the Pierce Brown of pop, the duo of Simon Curtis and BadW0lfy have crafted a sonic saga of epic proportions that spans time, galaxies and space whilst pushing the boundaries of the creative frontier. Their debut EP Birds tells a tale of what happens when you view the world through non-cynical eyes only to have the crushing weight of humanity's flaws and neurosis taint that vision. From start to finish the seven songs are as compelling as the Harry Potter movies, as commanding as the Lev Grossman Magician series. The taut, emotionally charged narrative that flows through each song gives the project an overall cohesive symmetry without it feeling like a concept album. And as intergalactic as our intrepid duo might be, their nuanced take on love, lust, betrayal and distrust are universal themes that have never been more exquisitely and personally presented. Both singers get the opportunity to let their solo moments sparkle like the brightest star in the firmament but - this in itself is a glorious treat. But add in them singing together and it's the utopia of pop destinations. Seven tracks is slightly generous for an EP, slightly too short for an album but let's not quibble and be grateful for what we are about to receive - because I for one am TRULY thankful :D Here's what Birds comprises of...
  • Fall Into Love ~ The only non-one-word-titled song on the EP. At it's very core, Fall Into Love is a huge power ballad of the highest order. Lyrically it's about the power of love and that thrusting romantic image we have of what it should be like (cleverly bought to life by references to 80s movies and prom nights) - yet the way it's sung gives you the impression that our intrepid duo know that beyond the idealised notion of love there is hurt and messiness and hard work. They never say this (beyond "never hear love songs on the radio no more"), but the passion in their vocal delivery tells a whole other narrative of past experiences. Yet it's what makes this song so euphoric and optimistic. Peel back the layers and whatever you have been through in the past, love is worth a second shot so take advantage of the moment you are in & grab the experience with both hands. Set to a pounding percussion that seems to mirror the ever powerful beat of the heart, shimmering synths underscore the track giving it an elegance & energy that feel like the music is as sentient as Simon and Rochella themselves. Both give beautiful vocal performances with the production allowing their voices to shine & demonstrate the nuance the words of the song demand. A guttural, primal chant dominates the middle 8 and consumes the listener with it's giddy abandon, a musical manifestation of that freeing sensation that allows us to follow our heart instead of letting our head rule. That chiming electronic piano that closes the track says more about the nature of love than whole albums by lesser artists. It's all that magical and evocative. Across the universe, repressed citizens of planets where ingenuity & innovation is squashed in their musical output are starting to whisper "WRATHSCHILD". Their oppressors, sensing a shift, begin to fear what is happening as the rallying cry takes hold and everyone, everywhere sees Fall Into Love as their anthem of unforgettable, enduring pop.
  • Phoenix ~ the first full on Birds reference is, of course, that mythical creature that rises from the ashes born anew each time it dies. It also possesses healing powers within it's very tears if JK Rowling is to be believed (and why the heck would she not be?) This song certainly gives you life, launching straight into an Ace of Base-meets-Cascada style beat drenched instrumental with Ro giving an assertive vocal that just refuses to quit. The song is the first sign that the sentiments of Fall Into Love are not quite the camelot of relationships they had initially hoped. Ro sings of giving her heart only to have it metaphorically thrown back in her face. There's just the merest hint of vulnerability in her voice as she refuses to let this get the better of her. Simon gives the alternative point of view in verse two (shades of his timeless Talk To Me duet with Andrea Lewis) with a butter-wouldn't-melt style innocence and charm to his vocals that would make even the most unforgiving of hearts melt and take him back. And that chorus - Phoenix definitely deserved to be single number 3. It's actually two choruses for the price of one. Half of it is addictive confectionery of a hook while the da-da-da gives us children's choir realness set to an unstoppable dub step. Then it all explodes into a middle 8 that just... ends. No more song. It's a little jarring at first but works perfectly in the context of the lyrics. Sometimes things end unexpectedly and this leaves you breathless, sweaty for more...
  • Everest ~ rather brilliantly the song begins as icy cool as the tips of this legendary landmark. It's a song that details how intense the power of love and lust can be, how it can take us by surprise. Love comes along when we are least expecting it and makes us crazy with our desire for these feelings to continue (for that loving touch to remain a constant). It's a slow build start with Ro giving a truly impassioned vocal before it crescendos into a dizzying eurotrance rave that will have you waving your arms in the air like a ninny on nincompoop tablets (double dose). Simon's no slouch in sharing how he feels (his line "i'll lay you down in my bed/recharge you, love you back to life" takes me right back to his salacious solo number Flesh - which was 50 Shades before 50 Shades was a thing. It's delivered with more of that innocence displayed in Phoenix but hides the best pop metaphor since Rachel Stevens promised to let you in her back door. Loving you back to life? Celine ain't got nothing on this - that's some powerful, magical seed)! More lyrical dexterity occurs in the bridge when they both sing a cIapella "Oh. I'm gonna make it to the top for you/Til my hands and my heart are blue/Gonna climb til you're mine/Gonna get to you". It's a lovely moment that is perhaps their most romantic yet. So tangible is the aching longing in their voices that it permeates through the speakers to almost physically caress the listener with it's indelible impact. Entirely enchanting.
  • Mars ~ Instantly jarring with it's off-kilter glomwobbling into, it's a musical representation of the inhospitable environment of the titular planet. Musically that fierce EDM sound is the most similar to both Ro and Simon's respective solo careers yet also feels like the musical successor to their duet Michelle (still a darn fine anthem). It's the most experimental track here and also feels like it's the prequel episode to them finally solace on Earth (whilst being an allegory for the loneliness and incompatibility one can feel in a relationship). Ro is full of frustration while Simon is urgent and ferocious in his plea not to give up on love so easily. His persistence is certainly appealing and Ro certainly acquiesces by the song's end. The power of the music feels like the listener is placed in the centre of these stormy emotions, making you an integral part of the track - an invisible observer to their most insistent of arguments. It's not the type of song you would have for a single but gosh darn you can just imagine how effective it would be live with laser lights, smoke machines, shadow dancers and the tightest routine since Britney wowed us with Oops I Did It Again...
  • Birds ~ Dear lord. A title track should make an impact and this song certainly does. It's an uplifting anthem of the most alternative type ("if we were birds we wouldn't have to stay/Flip a bitch and fly away/Shit on the heads who say/ that we can't dream/If we were birds, we could do anything") with an organic honesty to their interpretation of personal empowerment and achieving your dreams. Frankly I'd much rather have this than another dull lecture on how you can achieve if only you believe, etc. I almost don't want to spoil what happens in the first chorus - needless to say it's as unexpected and staggering on it's tenth listen as it is on the first, leaving you gasping at the audacity and reveling in it's sheer genius. Throughout, Erasure-esque synths dance around, inveigling the listener into the track until you are just part of the flock soaring above Everest and gazing towards Mars. PS if Wrathschild want to emulate Erasure's Abba-esque EP of the 1990s by making an Erasure-ish cover EP I would be a-ok with that as long as they do Always, Stay With Me and Love To Hate You.
  • Angeles ~ Angeles is a beautiful song with a melancholy aura - and may well be the best song about a city since Abba's I Am The City. The narrative, of course, deals with Simon and Ro's bittersweet relationship with the city of angels. Their passionate penmanship ensures the locale is as sentient and flawed as any lover they may have taken to their bed. In their gorgeous, entwined voices you hear every ounce of once bright optimism and hear every nuanced memory of biting disappointment felt. What is wonderful about these two is that individually and collectively their vocals take you on a journey as riveting and mesmerising as any David J Schwartz novel. Early in the song, the instrumental seems a hue more muted, allowing synth inflected strands of their tones to echo forth. This conjures up images of them standing still against a speed enhanced backdrop of the city going about it's daily bustle. It's a clever truck to create this illusion early on as it enhances both lyrics and instrumental as the song progresses. And what an instrumental it is - dark fuzzy synth effects give the city it's dark powerful yet dangerous allure while a syncopated handicap percussion portray the beating heart of this metropolis. It's that choral refrain that glues everything together however - powerful and memorable it will fuel your playlist of essential summer anthems until those autumn leaves have long fallen from the trees. In sadness is beauty and Wrathschild demonstrate that perfectly on Angeles.
  • Cosmonaut ~ Ah sadly it all comes to an end with Cosmonaut. But look on the bright side - it's that much sooner that you get to experience it all over again. The closing number combines opera and rap with sheer theatrical magnificence. A tour de force that demands to be heard over and over again. The creativity here is breathtaking and deserves as wide an audience as possible. It's the stuff Grammy and Brit awards are made of. Ro provides the rap, Simon gives sensual backing vocals before adding some truly seductive spoken word. It's the finale that sees the story come full circle - the fall into love passions become realised as they succumb to what was always their fate and destiny. It's beyond description and completely outstanding in it's execution.

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