The end of the Experiment.

Distressing news for fans of kickass punk-rock feminism (and lengthy band names): An Experiment On A Bird In The Air Pump have packed up their drums and unplugged their basses for the last time. This is what the Birds had to say:

C-Bird and X-Bird:

After two years, we have decided to call it a day with The Birds. We've experienced some great moments with this band but feel the time is right to concentrate on other passions. We want to thank everyone who has supported us these past two years and those of you who have taken the time to listen to our music, read our blog and meet us at our shows! We've met some great people along the way and have some fantastic memories! It's time to move forward positively into the future and launch ourselves head first into whatever is in store for us. The past two years have been an exhilarating whirlwind and we will continue to live our lives without regret and full of creative thought and positivity!!! A big thank you to all of your support!!!

D-Bird:
After almost 2 years together, we lay to rest one of the most exciting, exhilarating and exhausting projects I have ever been involved in. It all started off from an impromptu jam, an impromptu band formed and within such a short time, the impromptu band went full time, touring the world, recording with the likes of Steve Albini and meeting people I could only ever dream we'd meet.

Rather than dwelling on the reasons for ending I think it's important to look back and reflect on a proud achievement. We had FUN, I adored instrument swapping and more than anything, I loved being on stage. The time has now come to move on and focus on my new band Blue On Blue as well as my club Decasia Club, to thank those we've met along the way, enjoy new projects and take all that we have learned into a new direction. It has been one hell of a ride!! Thank you all for the support!

an experiment on a bird in the air pump : BUY A LIFE

AN EXPERIMENT ON A BIRD IN THE AIR PUMP
BUY A LIFE
(BUY A LIFE RECORDS)

You would never guess that this self-released three-track EP was produced by The Charlatans' Tim Burgess: he, by all accounts, is a fairly laid-back kind of guy, and this 7" buzzes with pure, venomous aggression from beginning to end. I can only conclude that the Birds themselves have got a lot of rage stored up, and that they've fortunately (for us) chosen the recording studio as the best place to get it out of their systems - you can hear it in the drumming alone, really. Each of the three sings on one track, the vocal highlight being some fantastic distorted soul shrieking from C-Bird's on 'Only in Death'; X-Bird smoulders in the dark on 'The Silent Hour', and D-Bird's more untrained voice lends opening track 'Smear' a vulnerable edge - not that she sounds any less angry, what with the snarling fuzz of two basses and a minimal tribal beat backing her up. It's certainly a step up from last year's 'These Sins', distilling bits of Hole, The Stooges, and Sonic Youth into a visceral seven-minute punch. Recommended.

1234 Shoreditch Festival - 26th July 2009

Last summer was a fairly good one, but what it lacked was a whole day in a park in Hoxton experiencing the sound and vision of the foremost pioneers of the London music scene. Luckily, the 1234 Shoreditch Festival returns to Shoreditch Park on 26th July this year to set this right. This year the numbers will be down (about 20,000 people are reported to have turned up in 2007) and the price will be up, but the £15 ticket price is well worth it for the extensive range of music across three stages between noon and 9pm, as well as access to ten aftershow parties in the area.

So, to cut a long story short, the artists already announced include Ulterior, Ipso Facto, KASMs, An Experiment on a Bird in the Air Pump, Hatcham Social, Factory Floor, S.C.U.M, Wild Palms, Project:KOMAKINO, Advert, O Children, V.E.G.A.S Whores, Relics, Silhouette, Sunderbans, and CC-SB, as well as New York noise titans A Place To Bury Strangers - and more to be announced. Rumours are rife about the headline slots, but we've heard only good things... all details here. This is one to get excited about.

Full lineup so far...
BANDS STAGE:
ADVERT // A GRAVE WITH NO NAME // AN EXPERIMENT ON A BIRD IN THE AIR PUMP // A PLACE TO BURY STRANGERS // BANJO OR FREAKOUT // CC-SB // CHROME HOOF // FACTORY FLOOR // FLASHGUNS // HATCHAM SOCIAL // IPSO FACTO // KASMS // LION CLUB // O CHILDREN // POLLY SCATTERGOOD // PROJECT:KOMAKINO // RELICS // S.C.U.M // SILHOUETTE // SLOPPY SECONDS // SUNDERBANS // TELEVISED CRIMEWAVE // VEGAS WHORES // THE WARLOCKS // WILD PALMS // ULTERIOR // VIDEO NASTIES
ELECTRONIC STAGE:
**K // AUTOKRATZ // BOY CRISIS // DEATH TO THE KING // JOE & WILL ASK // KOOL KIDS KLUB // KRAZY BALDHEAD (ED BANGER) // LUNG ROTTER & SEVEN // MODEL FOR MEMORY // MICRON 63 // THE LOVELY JONJO

WORSHIP at Shoreditch Church.

AEOABITAP debut EP.

An Experiment On A Bird In The Air Pump have unveiled the details of their first release: the four-track These Sins EP. The release contains Bird favourites 'Lights Out', 'Saints Don't Cry', 'The Past Between Us', and '100%', and is out on 7" vinyl and digital download on December 8th. 'Lights Out' will be released as a promotional digital single on 17th November, with the launch party the day before at 93 Feet East (with The New Thing DJs). The EP, meanwhile, can be preordered from the Birds' MySpace now. With the media spotlight growing after the band's recent appearance in NME, this one's sure to sell out.

Ipso Facto Video / Bird Pump EP

1. Ipso Facto, who release their next single 'Six & Three Quarters' on the 20th, have unveiled its promotional video. A gang of monochromatic psychedelic ghosts march forth around the four-piece, who for once are the most colourful people in the room.



2. An Experiment On A Bird In The Air Pump have announced details of their debut EP, recorded with Rory Attwell of KASMs. It's out on the 1st December, and a mini-tour to promote the record should follow. Before that the Birds can be caught playing all around London, including a support slot for S.C.U.M and a Dice Club show, and are also in this week's NME (twice).

OFFSET FESTIVAL. review, pt. 1;

EXP. CIRC. TENT, SATURDAY 30TH AUGUST

The epicentre of the more interesting side of the weekend was the Experimental Circle Club stage. Erroneously but somewhat appropriately named ‘The Experimental Circus’ by one particular member of Offset staff, the tent provided high-quality sounds throughout the festival: the diversity of the music on offer was clear from a glance at the line-up, which progressed from the crazed electronoise of Cementimental opening the Saturday afternoon to a refined but joyful psychedelic set from Ipso Facto on Sunday evening.

The first song-based act to take the ECC stage was An Experiment on a Bird Pump, who drew a fair crowd thanks to growing media attention (as well as the backing of The Horrors’ Faris Badwan). Despite delays which lasted throughout the weekend putting their set back by an hour, the Birds didn’t disappoint, and their soulful vocals and grunge instrumentation provided a good warmup for what is still to come. They’re by no means a band given to vulgar displays of power and speed, but a taut energy ran through their set and their restrained pace and musical minimalism perfectly suited their afternoon slot.

They were followed almost immediately by I Am The Arm, reduced to a three-piece after the recent departure of bassist Kane Martindale and who give performance of great intensity but one which showed the strain of the reduction. It’s particularly clear when vocalist Cyan Assiter-Clark is forced to switch from bass to guitar, and then to synthesiser, in the space of only three or four songs that, having only recently replaced their drummer, the Arm clearly need a new bassist as well. But they’re still making strides in songwriting and technical competence and the future looks bright, particularly with rumours of a release with DiscError floating about. Only time will tell.

Although ddd were set to follow, Paul Simmons (the guitarist for Ulterior, making a guest appearance in place of the absent John Kontos) had left his guitar pedals in Hackney and, rather than accept the alternatives offered, had gone to fetch them and left a hole in the programme which was filled by Futurism Vs. Passeism. Unfortunately, the phrase ‘plagued by technical problems’ has never been more appropriate: with the drum pads and microphone both playing up and the band becoming visibly frustrated, relief was sought in the New Bands tent as they struggled through their set. The technical failures would have been disappointing to any band at any time, and must be a constant danger for Futurism’s extensive electronics, but for a group playing a return show with new members and material they proved doubly crushing. Hopefully a future demonstration of the band’s developments hasn’t been ruled out.

ddd, arriving on stage a short while later after Simmons’ return, proved a blistering contrast to Fvs.P’s mystical electronic meltdown. A sharp and noisy sound attack is always guaranteed with Darryl Woollaston’s project, but Simmons’ contributions lent it, if possible, even more anger - his frantic slashing at the high end of the guitar strings were a perfect background to Woollaston’s robotically rhythmic guitar and vocals. A triumphant collaboration.

After a weird and not entirely wonderful set from No Bra, whose cult appeal I fail to understand, there was a noticeable crowding of the tent in anticipation of a performance from S.C.U.M, the band of the moment. The group arrived from an earlier performance in Norwich only shortly before taking the stage, and there had been some ill-feeling over their requests for a later slot (which were not entirely unjustified when the rest of the day’s bill was considered). Although slightly robbed of their atmosphere by being performed in full daylight, Thomas Cohen’s echoing vocals and the group’s tribal drums and menacing synth lines fetched a fair response from a crowd whose lack of movement apparently belied their appreciation, based on the positive words that could be heard in the tent after Rauridh Connellan had destroyed his drum kit and lurched over the front barrier before disappearing behind the stage. Cohen is developing into an iconic Nick Cave-style frontman, and their forthcoming single Visions Arise should cement S.C.U.M’s status as the Next Big Thing; whether they can sustain the bubble is a matter for the future, and at the moment they are a band living very much in the present.

Night had fallen by the time Factory Floor took the stage, and an audience which grew steadily throughout their set showed that their artistic draw is a great deal more powerful than their media presence. Latest single Bipolar has been absent from their live performances almost since its release, and most of their set consisted of new material, although Francis Francis (their next release) got an enthusiastic reception with its screaming guitar line. Factory Floor are moving away from their obvious influences into territory which is entirely their own, and although they aren’t a band that court the spotlight, they must sooner or later be thrust inevitably into it.

Of all the lineup changes in evidence on Saturday, perhaps the most drastic was from Micron 63, who have doubled in size in the past few months to a live four-piece. Their place on the bill was a little unusual for a group who have received little media attention and who are yet to release their first single. A more obvious move would have been to give a popular group with more stage presence such as Ulterior this peak slot, and to move Micron 63 to later in the night when their pounding bass synth and flickering vocals could have made for an excellent dance set. They were a little lost on an early crowd who are still gearing up for the night, but still put in a decent show which pointed to a great deal of potential.

When Ulterior did take the stage it was towards midnight and most of those who weren’t camping had left. Their performance closed the night acrimoniously with heckling from the back of the tent, and a tense set showed the growing influence of stadium rock on the group: they seem to be taking their love of the Manic Street Preachers to new extremes with a more tuneful sound.

Pt. 2 EXP. CIRC. SUNDAY to be posted tomorrow.; both parts and more to be published soon in an Offset edition of The New Thing fanzine.; watch.this.space.

That bird pump band have recorded an EP...

An Experiment On A Bird In The Air Pump have just finished recording their debut release with Robert Harder, who has releases by The Slits, Theoretical Girl, and Talking Heads under his producing belt. The new EP tracks will be unveiled soon. For now, we have an exclusive slice of information: plans are coming together for a collaborative track 'Violets of Dawn' between the Birds and 'a very tall frontman in a well known band'. Draw your own conclusions...

BAND SPOTLIGHT// AN EXPERIMENT ON A BIRD IN THE AIR PUMP

At last Electricity In Our Homes have been forced to relinquish their 'most annoying band name to type repeatedly' title. The first group we've ever heard of to be named after an 18th-century oil painting, An Experiment On A Bird In The Air Pump is a new project combining two talents: Lady Himalaya of Decasia Club and New Black Light Machine, and female electro-soul duo Eve Black/Eve White. With Ms Himalaya on bass guitar and the two Eves on stand-up drums and vocals respectively, the group make dark, minimal surf rock with soul vocals. It's a little like the aural version of a David Lynch film: atmospheric, scary, and arty as fuck... Catch them live at Decasia Club on 26th April supporting Factory Floor, or (better still - we're DJing) with Project:KOMAKINO at The Country Club Set in May.