Click here to expand and collapse the player

What We Lose in the Fire We Gain in the Flood

Rate It! Avg: 4.0 (132 ratings)
What We Lose in the Fire We Gain in the Flood album cover
What We Gained in the Fire
Let the Record Go
Numbers Don't Lie
Give It Time
Ways of Looking
LA Rain
Wash It Out
We Made a Mountain
Right Place
Good Heart
Album Information

Total Tracks: 10   Total Length: 32:42

Find a problem with a track? Let us know.

Write a Review 4 Member Reviews

Please register before you review a release. Register

user avatar



The story goes that Laura Burhenn wanted to put together a band with a sound like Neil Young playing Motown. Honestly, that's not a description that would appeal to me very much. On the other hand, The Mynabirds do sound a bit like that, and it's pretty great. The reasons, though, go well beyond the novelty and genre-bending of that concept. What makes this such an incredible album is Burhenn herself. Both her songwriting and her vocal talents are unquestionable. The Mynabirds' music is muscular, beautiful, and deep—all of which characteristics only increase with repeated exposure. This would be an incredibly strong second or third album; the fact that it's a debut gives me reason to hope for the condition of the world.

user avatar

One of the best of 2010 . . . so far


This is great all the way through. Get the whole thing. Laura Burhenn is amazing.

user avatar

the new carole king


she's got a ways to go, but she's not so far away. :) gorgeous songs. my favorites are "give it time," "wash it out" and "good heart." i listen to something off this album almost every day. :)

They Say All Music Guide

Ornithologically speaking, myna birds are noted for their talented vocal mimicry, which makes them a partially fitting but ultimately misleading namesake for this musical brainchild of singer/songwriter Laura Burhenn. True, the Mynabirds’ debut outing does an uncanny job recapturing the spirits of its 1960s-era influences — artists like Carole King, Bobbie Gentry, Jackie DeShannon, and Dusty Springfield who mined the fertile crossroads of soul, country, folk, and pop – and much of that is due to Burhenn’s marvelously rich, earthy vocal presence. But the effect is more an evocation of a certain vital, timeless mood than the re-creation of any specific sound; the album has a genuine warmth and tenderness that extend far beyond impersonation, and despite the undeniably vintage feel it’s blatantly reductive to label it “retro.” For one thing, these sounds have been broached frequently enough in recent years from various angles — Leslie Feist’s urbane soul-pop, Jenny Lewis’ and Neko Case’s roots-country redefinitions and, especially, Cat Power’s Memphian sojourns all come to mind — that they hardly sound out of place in the indie music world circa 2010. But Burhenn, working here with producer and fellow pop nostalgiast Richard Swift, makes them her own. The sepia-tinted cover image makes a good analog: it looks archival, but that’s actually Burhenn — an iconic, doe-eyed blonde — seated in a church pew in a shot that underscores the album’s pronounced devotional bent (with just a vague, impious hint of Dusty waiting to meet that son of a preacher man), That the gospel strains here, evident throughout but especially conspicuous on the thumping, slow-burning title track with its ineffable, pseudo-biblical mantra, are informed by Burhenn’s readings of Jung and Sufi poetry (and her personal experiences of loss) rather than a Pentecostal upbringing makes them no less spiritually resonant. But if there’s darkness and pain in these grooves there’s also plenty of lightness and joy, with a consistent, compassionate message of redemption through acceptance — as Burhenn sings on “Ways of Looking”: “It can be easy if you just let it.” That simplicity informs both the album’s unstudied songwriting and its deft, uncluttered arrangements, ranging from that song’s few breezy guitar chords and sparse tambourine to the pounding piano and garage rock swagger of “Let the Record Go” to the New Orleans-style brass backing up “We Made a Mountain”‘s bluesy gospel and the strings bringing a perfect touch of gloss to “LA Rain”‘s charming pop. – K. Ross Hoffman

more »