This might be too much nasty medicine if the music didn't engage us so consistently. This is easily Quasi's most accessible--even blatantly pop--album. Sam and Janet are utilising more instruments as well as recording tape than ever before, like the tumbling barrage of keyboards (including a harpsichord!) that open "I Never Want To See You Again". Sam turns in a fluid, George Harrison-like slide guitar solo on "The Happy Prole", while "Tomorrow You'll Hide" features a wonderfully bleak solo vocal turn from Janet. The transitions are incredibly subtle, like the eerie string passage that subverts the merry little "toot-toots" at the end of "It's Hard To Turn Me On". Sam and Janet's harmony vocals are a marvel; check out their wordless wail on "Sea Shanty", which manages to be frightened, mournful, and triumphant all at once. The intense intimacy suggested by both their tightly-wrapped vocals and their instrumental jousting is reminiscent of Yo La Tengo's Ira Kaplan and Georgia Hubley; each seems to anticipate the other's next musical move. Though there's little chance that Quasi will crack the charts (A piano and drums duo? Too damned uncompromising for mass consumption), Featuring Birds is a stunning record. This one deserves some serious time in the spotlight and as much intelligent discussion as we can muster. --John Chandler

Description
A duo of Sam Coomes and Janet Weiss (who also drums in the acclaimed Olympia punk band Sleater-Kinney), Quasi is one ofthe most unique bands in the late 90's indie scene. Most oftheir songs find Coomes on keyboards and lead vocals and Weiss behind the drums, although both take turns on guitar. Their songs belong to the winsome pop tradition epitomised by Badfinger, yet most of them don't have choruses and are generally over in two minutes. Even the title mocks the notion of hit songs--"Birds" is just a short track of birds whistling.
What's perhaps most striking about FEATURING "BIRDS" is its despairing and sarcastic worldview. It's peppered withlines like "Life is dull, life is gray/At best it's just okay/But I'm happy to report/Life is also short". Suicide, theoppression of work, failure and broken romance are also recurring themes. Weiss' drumming is impressive and much more varied than her playing in Sleater-Kinney. The two harmonise together well, almost sweetly at times, making for ironic distance from the bitterness of the lyrics. This is a bleak and intelligent record that should make Quasi as well regardedas Elliott Smith, Modest Mouse, and their other Pacific Northwest contemporaries.