Bitch Falcon – Staring At Clocks (LP Test Pressing)
Formed by guitarist/vocalist Lizzie Fitzpatrick in 2014, the trio also includes Barry O’Sullivan on bass and Nigel Kenny on drums. Staring At Clocks is produced by Grammy-nominated engineer Alex Newport (At The Drive-in, The Mars Volta, Death Cab For Cutie and The Melvins) and the production is tremendous throughout, a guitarist of Lizzie’s ability clearly excelling in the studio environment.
Firing straight out of the blocks is the urgent opener ‘I’m Ready Now’ which hurtles along with surging bass and rumbling drums, squalls of guitar feedback bringing an air of chaos. Lizzie’s voice swoops and soars, like another instrument masterfully encapsulating all of the melodies going on. This is the kind of song Pixies would kill to make nowadays, but Bitch Falcon have youthful exuberance on their side. Barry’s filthy bass wires around your head with menace on ‘Sold Youth’ while Lizzie’s guitars create otherworldly noises that sound nothing like guitars, how is she doing this? Nigel Kenny is a beast with the beats and the song mesmerises from start to end. Lizzie sings like it’s the last song she’ll ever manage and her voice is multi-tracked separating into wondrous sounds.
There are elements of The Cocteau Twins on the fabulous ‘Turn to Gold’ as Lizzie’s guitars spin out beautiful sounds and her voice shoots out supreme off kilter tangents of melody. There are more hooks in here than a fisherman’s grotto and with every listen, you hear new melodies. Like Belgium’s Brutus, Bitch Falcon know how to make a serious noise and the acerbic guitars and gut punching bass and drums combination on ‘How Did I Know?’ hurt like hammer blows. Lizzie effortlessly teases out a truly gorgeous melody in the chorus and you marvel at the series of notes and how you’ve never heard a tune like this before. This song is an album highlight and a perfect mix of heaviness and pop brilliance.
Again the guitar sounds on ‘Staring at Clocks’ sound like some other instrument entirely, there is some seriously clever effects work going on here and the excellent production really enhances the sounds. Lizzie’s voice is utterly remarkable as she slips and slides, totally immersed with her instrument to stunning effect. The song ends with a stunning hurricane of raging guitars, thunderous drums and storming bass. Barry’s bass boxes your ears on ‘Damp Breath’ and Nigel is sufficiently incited to shadow him with some pulverising beats. However the song is too manic and a little scattershot at times, perhaps to it’s detriment, it’s hard to keep up with. (I may just be getting old).
Easing back on the throttle is the fluid ‘Test Trip’ which has another herculean chorus that wraps itself around you, Lizzie really goes for it and it’s an absolute ripper. The guitars are ablaze like Kevin Shields on speed and that breakdown section is glorious and dreamy. Expect to hear it on future Formula 1 coverage, it’s like a modern take on ‘The Chain’. Like a deranged mouse running on a wheel, the guitars and bass on ‘Martyr’ are lightning quick and light with their twitchy groove. The song swings from delicate to hefty effortlessly and delightfully and ends in a blizzard of frenetic instrumentation.
Now for the sublime nugget that is ‘Gaslight’. A mindfuck of intense drums, driving bass and “what-the-hell?” guitars and Lizzie’s unreal and mesmerising howls, where she channels her inner Bjork. The guitars are on an altogether different level here and the whole song grabs you by the throat and doesn’t let go. But in such a good way, you’ll love being tossed about by it’s brilliance. Ending with another song that shows a little more restraint the verse of ‘Harvester’ comes over like Blondie if they’d arrived about 15 years later on the scene. With a more spacious sound overall, the track showcases that Bitch Falcon aren’t all about the bluster and maybe this is an area they’ll look into more on future releases. Ending with another tornado of noise, you’re left turned inside out, it’s amazing how three people can whip up such a frenzy.
If you can overcome the oddity of their chosen moniker, you will be swept away by the brilliance of Bitch Falcon. With similarities to another trio, the aforementioned Brutus, the band know how to work dynamics and have a singer with an extremely powerful voice and range. There is an energy with this album that really brings out a swell of emotion and it seems like a real catharsis expelling some dark feelings. But at no time does it feel bleak or downbeat, you will feel elated as the music is bursting with melody and careless abandon. I can only imagine (for the foreseeable future anyway) how good this band must be live. Bitch Falcon may have created their own exciting genre here with ‘dream grunge’ and Staring At Clocks is a stunning debut album.
Label: Small Pond Recordings
Country: UK
Media Condition: Near Mint (NM or M-)
Sleeve Condition: Near Mint (NM or M-)