Reviews:

• Tiny Mix Tapes (2001) - It seems to be a trend among indie-rock bands these days to break up, only to reform with former members of different bands, which may result in a better band than the last. Such is the case with former Illinois rock quartet Braid. Not long after Braid broke up, 3/4 of its members went on to form Hey Mercedes, and the remaining 1/4, Chris Broach (former guitarist/screamer), turned his Firebird side project into a full time band. Even though the "former member of Braid" tag will get him in the door, this release could barely be more different.

  The first noticeable difference is the use of drum machines and synths. The title track opens with a distorted drum machine and Broach's passionate, somewhat melancholy singing (yes, singing; no screams here). The album goes on and takes us through equal parts of beauty and ugliness. Many of the songs flow well together making the album a coherent whole.

  The music is, for the most part, original; you only hear little bits of influences here and there, such as the slightly Fugazi-sounding "Nothing Not Dance Party" or the Cure-influenced "Forever," which features stunning guitar work. The lyrics boast some great edgy lines ("split your head on the pavement," "kick yourself in the head," etc.), which reveals that Broach was the member that brought the edge to Braid (further proof of that is evident in Hey Mercedes' mature, polished sound). The album ends with several blank tracks and a hidden Christmas song that is soft, sad, loungy, and sounds like it was recorded in his bedroom.

  If you were a fan of Braid and were expecting another Braid-ish release, you may be somewhat disappointed. But once you get past the post-Braid tag, you'll see this album for what it is: a stellar release that features fine musicianship and spans an almost exhausting range of emotions. The Setting Sun and Its Satellites is fresh and original enough to keep you interested until the next release.

• Collective Zine UK (2001) - The Firebird Band The Setting Sun And Its Satellites / Label: Mintaka Conspiracy. : So this is the ‘other’ ex-Braid band. The one with Chris Broach, and not Bob Nanna. And from listening to it, and comparing it to Hey Mercedes, you can see why Broach is no longer a part of that group. He needed a change of direction. Though perhaps inevitably the Firebird Band maintain barely a thread of a connection soundwise with Braid (Nanna brainwashed him I bet), though that’s often simply because they are still an indie rock band, with guitar, bass, vocals and drums (drum machine). That have a multitude of extra sonic effects thrown in.

  And it’s pretty obvious from track one that they are doing things differently, it’s a loping, droney track, kept afloat by thumping, repetitive drumming, and Broach’s familiar vocals. It spirals off in a new direction at the end, with backward looped drums. The moody “City” starts off almost trip-hoppy in its laid back beats and minimal use of instruments. Throw in a few whizzy fx too, before it chugs into a more melodic groove. Hmm, I just realised that the CD is up to track 5 and I thought it was still on track 3. Which I think says that the songs tend to slide from one to another pretty seamlessly! I was just caught up in what I decided was a long evolving track. My mistake I guess!

  Every now and again they show traces of Joan of Arc style influence, such as on the instrumental “Around the World”, which mixes simple programmed beats and a strange, wavering guitar sound, before throwing in more electronica. But then the epic “Forever” makes me think of U2 for some reason. Hmm.

  There’s some absolutely spell binding slower stuff towards the end, “Which Way To Go / Sound on Sound” meanders beautifully in a similar way to Kepler, before it explodes into action, two minutes in. And whoever decided to make Christmas themed song “Gift” a mere bonus track when it’s the best song on the entire record should be shot! Scratchy, lo-fi vocals, a simple melody, beats that pop and fizz. Gorgeous.

  Tracks like “Nothing Not Dance Party” are more in the bouncy Braid direction, but with much more of an 80’s feel to the music, duelling guitars play off each other nicely, and Broach’s almost talky vocals (the first Firebird material was heavily in the Van Pelt vein - no longer though) fit just as well with these songs as they do the others. Best songs in this style though is the super catchy “The City And Driving”, underpinned by lots of plinky keyboards, and the flighty “Kiss Yourself”, sounding like a Braid song that never was, with its snakin’ basslines and mid-west bounce.

  Personally I prefer Hey Mercedes, but then Braid have always been a favourite with me, so a band that forever rehashes what Braid did, with Bob Nanna singing, is not a bad thing in my mind. I’m sorry. But it is patently clear that Chris Broach felt constrained in that environment, and now that he has cut loose, you can hear the results for yourself. Intriguing record, the next one will probably be even better (especially with new member Steven Lamos now in the band). This is worth finding for those who like indie rock fused with electronic elements. - Andy Malcolm (2001)

• http://www.chelseanewsny.com/news/the-firebird-band-apes-the-curerordquoand-thats-good-ABNP1420010123301239977 - When a man sings about wine-stained lips, I listen. Not that there's a slew of songs about wine-stained lips to choose from, but when singer Christopher Broach works it into his lyrics:?"Live with what you say and kiss me on my head/That string around your finger to help you forget/Red wine-stained lips"?it's brilliant.

  Like "Kiss Yourself," many of the Firebird Band's songs borrow from a Cure record or two. Not only do they blatantly rip off guitar and bass lines from Disintegration, but Broach has the audacity to sing the words "kiss me, kiss me, kiss me." Where most people would write this off as a coincidence, unoriginal or obnoxious, I love this modern adaptation into a postpunk kinda feel. Plus I'm a sucker for sexy, pathetic attempts by cute frontmen to express themselves.

  My friend Ashley and I arrived in time to watch one of the opening bands. Within minutes we realized they had one too many Fugazi records in their collection and retreated to the back of the bar to take in a drink or two. It was there we spotted Broach quietly observing this band. When the Firebird Band started playing we made our way to the front of the stage. I was more excited than I probably should have been to see them play, since I'd missed their September show. Besides Outkast's Stankonia, the Firebird Band's The Setting Sun and Its Satellites is the only new record that I have truly appreciated these last few months. We were anxious to see if they could invoke the feeling live.

  After their first song, I thought to myself: why didn't this guy sing more when he was in Braid? He's more creative and not as monotonous as Braid's Bob Nanna was. Luckily, Broach realized his talents weren't exhausted when Braid called it quits and went a different direction from Hey Mercedes, the band Nanna formed (with the other two Braid members), who sound exactly like their Chicago punky predecessors. My favorite song of this set was "Forever," a seven-minute epic with winding guitars and lyrics about lost love. And with a two-and-a-half-minute introduction of swirling guitars a la Disintegration, the lyrics being, "I see you crying? Listen to your heart/and walk away? Keep you here forever/In my heart/In my arms forever?" The song continues to build until the climax hits: "Give me one last kiss/Say good-bye/Give me one last wish? To kiss you good-bye." Very Cure, yet punk rock at the same time.

  Unfortunately, the sound guy added something like a Mickey Mouse effect to Broach's voice, so the song came off sounding more comical than on the album. It wasn't until "Nothing Not Dance Party" that the band was warmed up. Then their drum machine started giving the band trouble so they had to cut their set to five songs. So we were off to a neighboring bar for some dysfunctional sexual bingo.

  Lisa LeeKing (2000)

• Cleveland Scene dot Com - For the past three years, the Firebird Band has been one of those vaporous, revolving-membership projects that periodically surface and disappear within the indie noise-pop community. As prime mover Chris Broach became increasingly occupied with touring and recording commitments for his main band, Braid, time allotted for the same activities for the Firebird Band were considerably harder to come by, resulting in the "Feel Alright" EP in 1998 and the "New York" 7-inch, as well as a handful of one-off live appearances. With the demise of Braid, Broach finds himself with considerably more time on his hands, and he has poured it into making the Firebird Band a legitimate outfit, rather than a sporadically attended project (which is exactly how Braid came into being). As often happens when a side gig solidifies, not everyone came along for the ride. Since the recording of Firebird's debut full-length, The Setting Sun and Its Satellites, only Broach and guitarist Andy Hawthorne (Pilot in Hiatus) remain for the roadwork. The group has lost bassist Eric Bocek and drummer Tommy Shimenetto and replaced them with Ben Wilson and Steven Lamos, respectively. Where Braid tended toward a more primal grunge-like approach, Firebird tends to be a little more subtle and melodic -- comparisons to the Cure, with manic flecks of the Pixies, are not without support, and it's safe to assume a familiarity with the Dischord family (Fugazi, Lungfish, Shudder to Think) as well. Although there was an appealing edge to Braid's work, sometimes it was all edge. But Broach hasn't forgotten the edge with the Firebird Band; he's merely found the way to polish it without making it sharper. - Brian Baker (2000)

• CMJ New Music Monthly Nov 2000 - The Firebird Band "The Setting Sun and Its Satellites" Cargo/Headhunter: Guitarist Chris Broach's side-project-cum-full-time-band's debut was certainly not conceived with the Braid fanbase in mind. Some of the band's 12 tracks do offer tiny tastes of the Broach-led Braid songs, but overall, Firebird's a mash of gritty electronic beats, sparse, plinky guitar and atmospheric samples. The traces of posthardcore slide in mostly through Broach's vocals, which offer less of his trademark shouted "Yeah" variety, and more of his Johnny One Note projected talking. The record will appeal more to Cure fans with a penchant for skittering industrial beats than it will to emo-heads, but its standout moments boast elegant songwriting that most wouldn't have expected from Braid's second in command.

• Impact Press Dec ‘00 - Jan ‘01 - The Firebird Band • The Setting Sun and Its Satellites • Cargo Music • When Braid broke up and three of the four members formed Hey Mercedes I thought, "What happened to the fourth guy, Chris Broach?" Now you and I both know. The Firebird Band is fronted by Broach (vocals, guitar, Roland XP-50 workstation, drum machine). Joined by three others (guitar, bass, keyboard, drums, drum machine), this new band is not Braid. The Firebird Band is part Pixies, part Dismemberment Plan, part new wave and all rock. The creative aspects of this album have astounded me, Broach's vocals have impressed me and each tune (12 total) has made me smile with admiration.