Upstart Amsterdam quartet Kid Bird unleashed their debut self-titled EP at the beginning of the year. The five-song set is a versatile collection of historically indebted indie rock n roll that channels what came before it into something fresh-feeling and exciting.
At only 19 minutes long, it doesn’t hang about and gets its point across vehemently and without hesitation. Beginning with the swampy, swaying Southbound Train, the band quickly carves out a distinctive sonic niche. Taking Menno’s reverby guitars, Maurits’ throbbing bass, Hessel’s tight drums, and Thomas’ vocal style, they mash all these elements together to produce a tune that feels instantly classic. Built around a metaphorical train journey (you can’t go wrong with a song about a train) and a classic rock attitude, the song oscillates between steady, stable chugging and a runaway joyride. Musically we’d say it lies somewhere between the sounds of Little Barrie and Mando Diao – with a distinctly European interpretation on a style of song popularised most notably by our neighbours across the pond. As well as having a modern indie inflection to their sound, there are also elements of legacy ’70s acts like Creedence Clearwater Revival, Fleetwood Mac, and Santana here – the fusion making for a compelling listen, akin to acts like Kassidy and perhaps The Charlatans.
Blueberry Hill (no, not that Blueberry Hill!) keeps this retro-inspired feeling going with a traditional song structure and feel-good (but also weirdly kind of sinister-sounding) vibes. They keep the bluesy, rootsy, swampiness from the first song going and add some lovely vocal harmonies (shout out bass player Maurits) and end up recalling the style of scouse bands like The La’s or Cast. As before, there is obviously a very heavy British influence at play, as well as the undeniable influence of Americana, in many forms.
Surf Song is up next, and there will be prizes given out for those who can correctly guess what style the band has chosen to adopt on this one. Tremolo, echo, and reverb are the order of the day as the guitars conjure shimmering walls of sound and the band paints fluid pictures with their noise. Part The Raveonettes, part Drums but with a heavy dose of both Dick Dale and Link Wray – the instrumentation is timeless – as at home in the late 1950s as it is today. The vocals are melodic and sweet, harmonious and easy to love – in the style of sunshiny California groups like The Beach Boys and The Mamas & The Papas.
“She takes the driver’s seat in every love affair,” goes the opening lyrics to the next song. Establishing a femme fatale protagonist in what must surely be record time, Baby Minor sets the scene instantly. Again channeling UK acts like Oasis, Keyside and The Coral, the band keep their audible aesthetic going with sharp guitars and a smooth rhythm section paired with Thomas’ trademark vocal and deliver a song that is dripping in attitude and atmosphere.
Fool’s Haze – the closing song – is the longest track on the EP by a good amount, and evidently, the band has saved their most tender moment for last. A choppy early-Coldplay-style lead guitar and a lilting, almost waltzy rhythm (at points) fuse perfectly with Arctic Monkeys-esque crooning and pared-back instrumentation to make something compelling and captivating. Shortly before the song reaches its conclusion, it gets astronomic and reminds us of Kings Of Leon or perhaps even The Killers – a bit – at their most grandiose and bombastic.
With an unshakable musical vision, lofty artistic ambition, and a palpable sense of dedication that seemingly knows no bounds, the future already looks very bright for Kid Bird. You get the impression they’re only just getting started.
Written by Kinda Grizzly
