Track By Tracks: BIRDLORD - Dreams Lie In The Eagle's Eye (2026)
Side A
1. The Birds Don’t Sing They Screech in Pain:
This song is a good introduction to what Birdlord has become over the past three years. We actually threw away the arrangement we had brought into the studio and created the song from scratch through a jam in the studio. At some point, certain parts emerged that just felt right: we knew immediately, this is the feeling we want to express. The song starts almost as if it were singing, with soft and atmospheric textures, but gradually becomes more and more urgent until it finally reaches a point where we are no longer singing, but screaming. The title reflects that feeling: the birds don't sing; they scream in pain when confronted with the state of the world we are living in right now. A huge part of the song is the attention we paid to sound and detail. During the recording, we sometimes had seven or eight pedals running simultaneously, experimenting with different settings while playing and reacting to what was happening in the moment. A lot of the song's character came from that very alive, spontaneous process. The title was inspired by Werner Herzog's Burden of Dreams, whose atmosphere resonated strongly with us.
2. Plumas Y Espadas Para Luchar:
This was the first song we wrote and completed for the album, initially with our former bassist Claudi and later with Köbi. The music takes you into high alpine landscapes – the higher you climb, the thinner the air and the more violent the weather becomes, until you finally see an eagle soaring above the summit. Lily wrote the sparse Spanish lyrics, which speak of “feathers and swords to fight with” as weapons that are not of this world: forces powerful enough to destroy our constructed ideas and human arrogance. Ultimately, the song is about the idea that we are not only beings of flesh and blood, but spiritual beings as well.
3. En Donde Me Perdí:
The second single release, also called Mundo de Piedra among ourselves, was one of the fastest songs we ever wrote and recorded. We all immediately felt the groove, and it has become one of our favourite songs to play live. The main riff was written by our bassist Köbi, and together we refined the arrangement and worked on the sounds.
The song is about a “stone world” where we worship material things and immediate gratification, while losing our empathy for each other, animals and the environment. “Mundo de piedra, en donde me perdí / no es para mí, sácame de aquí” expresses the feeling of being lost in a society that seems to have more than ever, yet carries less in its heart. The more empathetic you are, the harder it becomes to accept this world – and the stronger the desire to get out.
4. Where Do You Lead:
WDYL was our last single release. Lily wrote the main riff and lyrics almost two years ago, and the song went through several small changes before reaching its final form. The idea was for the song to eventually end with a choir of voices all asking the same question: Where does this lead? A loop of thoughts and doubts.
The question can apply to almost anything: a relationship, a career, a journey, a project or an idea. Lily wrote the lyrics in just 20 minutes while sitting on top of the lifeguard tower during a quiet shift at a public pool in Bern: “I had to put this feeling inside me into a song…this desperation, this pain, you know. The urge to write was simply too strong.” She probably wasn't supposed to be writing up there, but the song had to come out.
Side B
5. Rebuild What Was Lost:
We called this one Brokenhearted during the writing process (and still!). This track is ultimately about hope, trust, and healing. The lyrics are very personal and come directly from Lily's thoughts and diary. They deal with depression, worries, self-doubt, and the hope that a broken heart can be restored. Her faith is rooted in the belief that God did not create us for self-hatred and constant worry, and that restoration is possible when we learn to lean on God. But the song reaches beyond a Christian perspective (notice that Gaia and Köbi are not Christians): At its heart is the simple hope that we don't have to carry our brokenness alone. Other people can walk with us through pain, and we can learn from each other how to face difficult circumstances. Musically, the song is driven by a fuzz-heavy riff that runs almost from beginning to end, with a repetitive, slightly hypnotic quality. The chorus even has a kind of unexpected pirate-song feel.
6. Drunken Dream:
Drunken Dream is probably our “fun song” - a punchy riff that is simply a lot of fun to play. It also stands out lyrically from the rest of the album, which is why we changed its original working title, Drunken Drummer, to Drunken Dream. The song is about dreams that can become intoxicating when they are pursued at the expense of everything else, like the drummer in our song, who becomes so obsessed with becoming a superstar, the greatest of all time, that she or he starts neglecting everything and everyone around her/him, thinking only of herself/himself until she/he eventually finds herself/himself alone.
The part we spent the most time shaping was the guitar solo/bridge. There were countless jams and experiments before Gaia settled on its strange, shifting groove, alternating between 7/8 and 8/8. The outro even features a little spoken-sung passage, another unusual element on the album. Overall, Drunken Dream is a playful track, but beneath the fun there is still a warning about where ego-driven dreams can lead.
7. Carry On What’s Left Of Me:
The seventh song of the album is our ballad. Built around a simple four-chord progression, it plays with dynamics rather than complexity: it starts with just clean guitar and vocals…and explodes into fuzz and double-kick drums and eventually returns to where it began. The lyrics are about the longing to be carried, found, and healed… to become whole again, to be who we were created to be. The eagle becomes a guiding image here, as it does throughout the album: “Guide me through the storm, like you do with the birds.” Birds have remarkable navigation abilities, using cues such as the sun, stars, and Earth's magnetic field to find their way. For us, the eagle represents this sense of orientation and freedom. The trust that even when we lose our way, we can still find our path through the storm.
8. We Hope We Heal:
Aww yes, the end of our album and at the same time, our biggest wish, both for ourselves and for you and the world. This is our so-called ‘desert rock’ song. It was also the song we struggled with the most in terms of arranging, and the last one we finished. We actually threw away the entire second half in the studio because we weren't happy with it. Together with our producers, we set up different sounds and simply started jamming – and that's how the final, almost cinematic ending of the album came to life. It's a semi-instrumental track, with vocals appearing only in the first half. The lyrics sketch a dusty road trip: a vehicle crossing the landscape, two people meeting along the way and becoming fascinated by each other. “They saw each other on a sunny day not far away, those green eyes, portals to another world.”
And then there's “kickflip to freedom”. That line was actually Köbi's idea – although he didn't mean it seriously at all. We loved it, kept it in the lyrics, and eventually even printed it on our cassette tapes. Köbi was not amused. He has since accepted his fate… but still hates that we sometimes take his jokes and turn them into actual creative decisions.
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