Having discovered Bear through their senses ravening second album back in 2013, every new moment with the Belgian outfit has been a momentous moment in our musical year and there is nothing different in 2020 with the unleashing of Propaganda, their most striking trespass of the senses yet.
There has always been an open uniqueness about the Antwerp quartet’s sound but again it has evolved into a whole new beast of fascination within their fourth full length. Described as a fusion of progressive metal and hardcore, the reality is that it is a far richer and diversely woven proposition. Within Propaganda groove and tech metal embroils in death and noise rock, a mixture only further twisted as rapacious imagination cast its weaves. The feral likes of Noumenon and successor /// have blossomed in that creative environment but Propaganda though has simply found a whole new discharge of temptation.
With its heart and breath a roar against the spins which manipulates all our lives, Bear’s new onslaught immediately descended on ears with opener Dissolve Dissipate. Rhythms immediately assault as acerbic grooves entwine the listener, a hungry contagiousness swarming the senses as the track violently devours. The thick growl of vocalist Maarten Albrechts erupts straight into the barrage, spilling further malice and tempting in a fusion only increasing in enslavement; even more so as a contrast of clean vocals rises within the sonic persistence and growing enterprise. As the track again twists and escalates its lure, all the time soon adding greater lust to our appreciation, it is a superb start to the album and a scene setter of the invention within its body and ravenous dexterity in its realisation.
The rhythms of drummer Serch Carriere and bassist Dries Verhaert perpetually make for a magnetic invitation even as more restraint wraps their baiting of ears as the release’s title track follows. Nevertheless it instantly held attention tight as further aspects add the inescapable beckoning into a waiting deluge of sound and venom. Even that though is aligned to melodic and compelling enterprise, the track a mercurial incitement as savage as it is seductive on body and thoughts. Winding, Guitarist James Falck again weaves vines of sound and threads of grooves around the song’s transfixing length, tendrils which threaten as they lure; the track itself epitomising that feat within its predacious presence.
Obey barely allows a breath to be taken before uncaging its own predatory instincts and sounds, ferocity again interlaced with progressive and grooved imagination which not so much tempers the assail as encourages it and an already well grown addictiveness to the encounter. It is a trait we found with previous releases, a quickly formed and unshakeable hunger for their wares which is soon fertile within Propaganda and only intensified with the following pair of Apollo’s Heist and Red Throne. The first teases ears first, nagging on attention before rewarding such focus with a menacing crawl which was soon burrowing deep; the sinister temptation only accentuated by the harmonics of varied vocals and synth caresses within the ursine confrontation. It provided full enthralment from start to finish which its successor quickly devoured with its far more volatile and grievous exploits. As those before and to come, the track is as unpredictable as it is compelling, leaping with bruising dynamics yet never hinting on its subsequent moments of greedy aggression or dramatic restraints; it all delivered with devious craft and manipulative imagination.
Through the similarly ominous and disturbing intimation of the increasingly carnal Mite and the viscous animosity of Gutter Love the album only gripped tighter, the latter a virulent slab of primeval rock ‘n’ roll while the following Stigmata left its deep sonic mark with rhythmic lashings and dark raptorial fingering of the psyche and fair to say that each track is bound in capricious adventure and skilfully erratic enterprise inventively and imaginatively bred.
The calm dark beauty of The Ram brings a moment to find stability for the senses and suggestion for thoughts though the listener is soon consumed in the cataclysmic invasion of Flares which erupts with Bear’s trademark brutality and imagination gripping resourcefulness as again expectations are never allowed to seed and appetite to lose its greed for the band’s ingenuity.
Engine and Kuma bring the album to a close, the first an infection of sound and intimidation which is as masterfully radiant at times as it is persistently intrusive and truculent throughout and the second an infestation of quarrel and hostility around a groove woven web of harmonic and melodic splendour; both providing a rousing end to the album with the last another particular peak in its lofty landscape.
Propaganda only becomes more potent and magnificent by the listen and imposingly stimulating as its lyrical side stands tall in the instantaneous glory of its sounds. Not for the first time Bear has crafted one of the year’s major and richly enjoyable moments; the continuing welcome ringing in our senses proof.
Propaganda is out now via Pelagic Records.
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RingMaster Review 16/06/2020
Copyright RingMasterReview
Mixed by Alan Branch (Depeche Mode, NIN, U2), #Resist took little time to spark an already in place appetite for the band’s sound to date but equally evoked keen anticipation for new development and extension as The Holy Trinity opened things up. Keys immediately surround ears bringing drama and intrigue swiftly echoed in the surges of guitar. CAA have bred an identity and sound which is unmistakably their own and again it envelops song and persuasion as David’s equally distinctive tones lyrically provoke and highlight. With rhythms a similarly dark place of intimation as the fusion of melody and sonic tension around them, the track is a gripping start to the release.
From there Psycho-Apathy taunts the senses, riffs an immediate enticing bait as rhythms barbarously leap across the invitation. Uniting in an intensive surge, it subsequently springs a hook swinging stroll led by the potent tones of vocalist George Garnett. The tenacious beats of drummer Robbie Johnson continue to violently pound but manipulation echoed in the groove of Casey Stead’s bass and the wiry web cast by guitarist Josh Rogerson. The track is superb, an invasive yet virulently catchy and ferocious punk incitement with much more to its almost devious exploits.
Omens opens up with its title track, a spoken word introduction cast by vocalist Matt Ryan within dark atmospheric intimation. It is a portentous poetic lure, an embrace come accusation of darkness which erupts within the following Black Bile. Immediately a patient horde of riffs surround the senses, the cutting swings of drummer Elliot Cole splitting the air as the guitars of Ryan Cole and Chris White spread their esurient web of sound. Ryan’s familiar gruff tones command the air in between their sonic wires as the tenebrific grumble of Christian Benoist’s bass only adds further dark fuel to the temptation. There is also a mercurial breath to the track’s landscape, one which echoes the album’s body as a whole and only fascinates as the sounds it inspires.
The striking start only continues through Strangest Thing, a recent single which calls on attention and imagination like a fusion of The Primitives, The Cranberries, and Sheryl Crow. There is eagerness to its persuasion which gets under the skin with increasing tenacity as the song rises from its gentle start to offer an irresistible swing so easy for the body to match.
The album opens with Queen Dies and a rhythmic intimation luring ancient and middle-eastern seeded conjuring. As guitar and keys spin their own suggestiveness, vocalist Helle Bogdanova rises up with melodic beauty dripping from every syllable of the tale told. Playing the lead protagonist she effortlessly captivated within the similarly alluring enterprise of guitarist Dmitriy Vinnichenko and keyboardist Evgeny Zhytnyuk. Yet darkness, emotional betrayal, and demons await; a portentous edge and subsequent snarl erupting through the rhythmic trespass of drummer Ivan Kholmogorov and the carnivorously throated bass of Xander Kamyshin. As her lyrics reveal the darkness to unfurl, so Bogdanova’s tones portray hellish threat amid physical contrast, her fusion of clean and gut bruising dexterity irresistible.
In some ways the following Better struggled to spark the same lustful reception as its predecessor yet with its melodic fire, dark rhythms and again a vocal unity which refuses to be ignored, the song is a fiery serenade on the ears which was keenly devoured. Similarly as within the first and those to follow, the song shares unpredictable twists and invention; aspects as ably woven into the following pair of Crush and Soldier’s Heart. The first proved another particular favourite moment within the release, its snappy stride and matching vocal dexterity alone manna to an instinctive appetite which was only fed further as melodic, harmonic and sonic flames escalated the attraction.
It is a delicious start to the release which is immediately matched in craft and enslavement by the pair of We All Get Down and Al Gore Rhythms. The first simmers in to view through keys, a just as minimally touching guitar laying its gentle melody alongside as the harmonic grace of Amy and Patty’s vocals caress song and ears alike. A weave of dream and folk pop with much more in its texturing, the song has a touch of XTC to its beauty while its successor is a body manipulating, feet leading slice of trip hop flirtation. It too soon reveals plenty more to its design and a character with magnetically soulful vocals at its heart.
Never breaking its lively amble, the track is a richly rousing affair which the following Mars (Won’t Save Us) more than matches in contagion with its post punk lined virulence. Akin to a tonic made up from the essences of The Doors and Stan Ridgway, the track is part apocalyptic insight and part celebratory flirtation and one greed eagerly took to before Stowaway lured its own healthy portion of appetite with its surf washed, dark pop/rock stroll. Warm and seductive with a gorgeous crepuscular edge, the song swiftly got under the skin, its rhythmic swing gripping hips as vocals and melodies entangle the imagination.
