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1. I'm A KidAgain
2. Maven
3. I'm Sorry Mom
4. Rory Snake Handler
5. Spearhead's Sister
6. Lapin
7. Glory Hole
8. Abscess Marked Return
9. Emily The Bear


I'm Sorry Mom


"(...)Lärm, intime Gefühle und sanfte Töne. Dass Inhaltlich menschliche Fehler und anderes, für das man sich entschuldigen kann, eine große Rolle spielt, ist Genre-immanent. Besonders interessant ist, wie die Lo-Fi-Formation rund um Ben Schurr die Songstrukturen auflöst und aus kleinsten Parts Nummern zusammensetzt, die den Verdacht nahe legen, dass diese auch ganz anders auf der Platte hätten verteilt werden können."
(The Gap)

"(...)I found wonderful, subtle, fragile pop songs, so melancholic and bittersweet, I felt as if I had raped them by prying open their cover.
(...)If Br’er wanted to publically exorcise their inner demons than they did a great job of holding the ruckus back in their rooms and halls. But maybe the album is actually all about re-writing children’s stories to bring out the inner selves of those protagonists and heroes of bedtime fairytales. Summing up you could say, that if you take Paper Chase and make them stand in a lake with a little wind, then Br’er are the band that is reflecting in the waves."

"The instrumentation goes from eclectic to abrasive at the drop of a hat and the song structures like to seek out their own meandering paths that make a mockery of traditional verse/chorus structures, and sometimes even the most curious listener will be tempted to duck and cover, but there’s something fascinating about it all that definitely warrants repeat listenings."

"Another brittle-beautiful CD album from Vienna’s hottest Indiepop outlet Beat is Murder!
(...)Alongside their multifarious chambermusic, odd boys Schurr and Mirande put up an artificial, gender-sensitive and semi-orchestral image that makes them a logical and enriching addition to the BiM rooster.
(...)a step towards synthesizer distortion and rural Postpunk, ca. 1980. “Emily the Bear”, finally, starts rough but moves into an intensive vocal performance over harmonium and crooked synth-sweeps that makes Conor Oberst sound like a school boy."


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