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
Combos’ sound has something of a Shelter meets Swound! accosted by Bokassa to it. It is immediately infectious, just as swiftly aggressive and invasive, and an incitement of manipulation we could find few defences to. EP opener Boom Shakalaka tells you all you need to know about the holler and addictive nature of their creative stomping. Instantly rhythms are forcibly jabbing at the senses as riffs nag on punk instincts, their united incitement enough to have limbs punching even before the highly virulent encouragement of vocals and swinging rhythms. As shown across previous tracks, the band cast choruses which feed on one’s inner yell, easy to leap upon and share moments one’s own riotous body and roaring tones with. All the same, if not as bold as elsewhere upon the EP, twists and turns bring imagination and stirring enterprise, every second of the song listener orchestration.
Both tracks making up the single are inspired by American music journalists and each a tribute with a touch of individualism and rebellion which could be said to equally spice the writers work. A-side is Robert Christgau, a song immediately winding attention enticing guitar wiring around ears. Rhythms gather with increasing intensity too though they never quite find a concussive touch as the track slips into its infectious post punk nurtured stroll. Tofer’s vocals join the canter, his resolute tones firm but with the same underlying off-kilter dynamic as carried by Breathiac’s guitar and Levojohn’s bass. With the equally purposeful beats of Kostas driving and adding commanding manipulation to song and listener alike within the melodic web cast by Breathiac, the track is pure captivation; essences of bands such as early Cure, Unsane, and KEN Mode coming to mind in varying degrees.
The album opens with Alien and the introduction to the arrival of a visitor to this complicated planet but as across the album it is a premise which can be just as firmly translated to any misfit, freak, emotional extra-terrestrial feeling out of place in this world. It is a secretive emergence, a calm glide into view which breaks into a rhythmic stroll before an inimitable Mr. Strange like carousel lit saunter takes over. The narrative of the vocals is soon as magnetic as the sounds lighting its observation, the unsurprising catchiness of the band’s swinging electro meets psych rock incitement infesting ears and body alike.
Approaching the subjects of mental decline and self-loathing, the EP opens up with Munchies and immediately commands indeed demands attention as strikes of guitar spring the punchy but melodic tones of Matthew Awbery. Just as quickly the song breaks into a swinging canter, its rhythms knees high as it strides through ears with a swagger soaked in punk fuelled virulence. A noise punk clamour accompanies its emotive defiance, every rhythmic swipe and sonic jab pure virulence as irritability brews, springs, and adds to the rousing tempest.
Future Crimes follows, opening with the great dirty growl of Cholewa’s bass before contrasting its grumble with the melodic jangle of guitar. As with its predecessor, familiar essences collude with bold fresh endeavour to create an individual character and presence; its melodic and harmonic boisterousness adding to that distinctiveness. There is a sonic mugginess to song and sound too which similarly just lured ears in and though maybe missing the striking hooks of the opener, the track effortlessly held court before Time Traveller offered up its own humid noise cultured breath. Something akin to Dinosaur Jr meets Big Black the song proved increasingly compelling and contagious as it nagged an already eagerly involved appetite.
It is a riveting start to the album swiftly matched by the even more asylum like Fons. Vocal gabble leads sonic stalking, the guitar offering initial glimpses of the track’s predacious heart before both ignite with the fiery blaze of the synth’s unpredictable melodic causticity. As everywhere, ever ready unpredictability soaks every twist and turn; steering the imagination and an increasingly greedier appetite for the song’s crazed composure and seductive ferocity.
Having our own musical journey seeded and bred in the small but tenacious independent record labels which leapt from the punk scene decades back there is an instinctive intrigue and appetite for the energy and passion which fuels such endeavours. They are adventures which are all about the music, it and their creators the reason for every move and release. This is no more epitomised than by Society Of Losers, a Liverpool hailing label formed in 2016. We were drawn to their presence and releases through the outstanding Salt The Snail before subsequently discovering the glories of . Now we have a couple of new tracks from two more of their bands with each confirming Society Of Losers a go to outlet for compelling escapades.
Enamel Animal within their CVs, Mr Ted immediately tease ears with a guitar wire; a coaxing line to a tide of sonic trespass which swiftly rises up. Just as urgently, the track’s thick groove and swing invades ears and body, leading an eager sway as rhythms prowl within the nagging insistence of the guitars. With vocals equally as infectious in their untamed antics the song revels in its unpredictable imagination aligned to a moments of more composed grunge nurtured roars.
Leaders is the new single from another Liverpool outfit in Bisch Nadar who similarly cast a sound spawn from a blend of styles, in this case merging the essences of math and alternative rock with progressive and pop infused flavours. Their new track shows it makes for a potent proposition taking little time to have ears and enjoyment keenly engaged.
as inviting as they are imposing. The warm vocal tones of Rathbone similarly are allied to the throat rasping scowls of Yelding; that aligning of contrasts the heart and power of a song with bite to its welcoming character and organic volatility in its belly.
As the ravenously viral rock punk ‘n roll throes of Strike and the post punk embracing devilry of The Jerk infested and seduced ears with unruly dexterity, Total Dump just stretched its landscape of esurient intent and fevered invention. Both tracks are as mercilessly catchy as they are unapologetically invasive, that greater accessibility to the band’s sound in full bloom just as much its acclaimed creative villainy is merciless, and traits just as thrilling within next up Shinny Happy Asshole, a venomously swinging, deviously contagious but inescapably corruptive slice of unscrupulous enterprise.