Minus The Bear

Foundation Presents

Minus The Bear

Beach Slang, Bayonne

Mon · March 20, 2017

7:00 pm

The Beacham

$22.50 - $28.50

Tickets at the Door

This event is 12 and over

All patrons must have a valid form of identification present, regardless of age, at the time of entry for all 18+ and 21+ shows and events.

No backpacks, large bags or large purses allowed. Maximum Size 4.5″ x 6.5"

No professional audio/visual or any digital recording equipment will be allowed into the venue, without prior permission and arrangements. You must be on the artist photo pass list in order to enter with cameras with detachable lenses.

Minus The Bear
Minus The Bear
Over the course of their 15-year career, Minus the Bear have carved out their own unique musical world. This isn’t to say they’re impervious to outside influence. They’ve borrowed components from a wide swath of genres—the brainy clangor of New York’s proto-punk scene, the cerebral buzz of IDM, the poptimist evaluation of hip-hop and R&B, and the grandiose visions of prog rock—but always managed to defy classification. Throughout the first decade of their existence, every new album offered a new musical approach, as seen in the idiosyncratic fretboard gymnastics of Highly Refined Pirates, the glitchy loops of Menos el Oso, or the modernized Fripp-inspired wizardry of Planet of Ice. By the time the band entered our current decade, their knack for reinvention yielded to an emphasis on refinement. Albums like OMNIand Infinity Overhead searched for a middle ground where their myriad of stylistic approaches could all work within the context of a single record. On their sixth album VOIDS, Minus the Bear started with a blank slate, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. “There was a lot of change and uncertainty,” says guitarist David Knudson. “I think the general vibe of emptiness, replacement, lacking, and longing to fill in the gaps was very present in everyones’ minds.” Change was everywhere. Keyboardist/vocalist Alex Rose took on a more prominent role in composition and handled lead vocal duties on songs like “Call the Cops,” “Tame Beasts,” and “Robotic Heart,” drummer Kiefer Matthias joined the fold, producer Sam Bell lent a fresh set of ears in the studio, and the band returned to their original label home at Suicide Squeeze Records. Minus the Bear were no longer swept along by the momentum that had driven them for the last fifteen years. Instead, they reached a point where they could recalibrate and redefine who they were as a musical entity. The resulting album VOIDS retains many of the band’s signature qualities—the hedonistic tales of nighttime escapism and candid vignettes of adulthood, the savvy up-tempo beats, the layered and nuanced instrumentation— while simultaneously reminding us of the musical wanderlust that initially put them on the map. Album opener “Last Kiss” immediately establishes the band’s renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into “Give & Take”, a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like “Fine + 2 Pts” while exploring new textures and timbres. “Invisible” is arguably the catchiest song of the band’s career, with Jake Snider’s vocal melodies and Knudson’s imaginative guitar work battling for the strongest hooks. “What About the Boat?” reminds us of the “math-rock” tag that followed the band in their early years, with understated instrumentation disguising an odd-time beat. “Erase,” recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs, but demonstrates the Bear’s ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer “Lighthouse,” they’ve traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo, driven at its peak by

Cory Murchy’s thunderous bass. Not since Planet of Ice’s “Lotus” has the Bear achieved such an epic finale. All in all, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place, and a big part of that appeal is the sense that the band is heading into uncharted territories. Suicide Squeeze Records is proud to release VOIDS to the world on March 3, 2017 on CD, LP, and cassette. Nick Steinhardt designed the artwork and layout for all formats. The first pressing of the album is available on 5,000 copies of splatter colored vinyl and 5,000 copies of 180 gram black vinyl. The LP jacket features PMS inks, a die-cut cover with a printed inner sleeve and contains a download code. The cassette version is limited to 500 copies and includes a download code as well.
Beach Slang
Beach Slang
“I don’t want to whisper things anymore. I want to yell them.” -- Beach Slang’s James Alex

First there’s the choppy E chord, revving the song like a boot stomping a gas pedal: the sound of all that excess energy built up at the start of the night. Then comes James Alex’s fine-grain sandpaper voice: “Play it loud, play it fast / Play me something that will always last / Play it soft, play it quiet / Play me something that might save my life…”

James Alex, songwriter and front man for Philly indie-punk outfit Beach Slang, knows wherefrom he sings. Like a lot of us, Alex is that kid Lou Reed sang about, the one whose life was saved by rock and roll. And A Loud Bash Of Teenage Feelings (Polyvinyl), Beach Slang’s second full-length, is just that—a crash-and-thunder collection of songs about what it takes to keep yourself going, to make it through the rest of the night—hell, through the rest of your youth—and beyond.

Coming off a string of acclaimed EPs, Beach Slang’s first album, 2015’s The Things We Do To Find People Who Feel Like Us, won remarkably effusive acclaim from a number of critics, and wound up on several “best-of-the-year” lists. James wrote much of A Loud Bash Of Teenage Feelings on that album’s support tour, during which he spent a lot of time with the kids who’d picked up the record.

“A lot of the songs [on Loud Bash] are the stories of the kids who got turned on to Beach Slang by the first album,” says Alex. “They’re autobiographical, too, but kind of at a remove—I’m not that young kid anymore, but I used to be. You know how it is; rock and roll is a new crop of 15-year-olds picking up guitars every year and having at it. There was something really cool about documenting someone elses life, but seeing myself in it. I suppose that’s why we connect. We’re all kind of one big gang.”

The same could be said of Beach Slang itself, whose members came together very organically. After logging 15 years in Weston, the much-praised Philly hardcore punk outfit, Alex brought the songs that would become Beach Slang’s first EP to an impromptu jam session with outside musicians, including future bassist Ed McNulty. “It felt right, right away,” says James. “It was one of those rock and roll moments.”

Going into the second record, Alex didn’t feel a sense of pressure to match the broad, unexpected success of the first. “What I did feel was a sense of responsibility to the kids who told me they were finding something in our music that brought them back from a bad place, the ones who were getting Beach Slang tattoos and quoting lyrics to me after the shows. I don’t want to let those people down. As a 20-year-old, I thought, hey, let’s all have fun, we’re gonna live forever. You don’t really see the finish line. Now it’s more like, am I leaving behind work that’s going to matter? What’s this going to say about me when I run out of air, and my son is listening to these records and tapes that I left behind. Is he going to say, “Yeah, my dad was all right”? These days I feel like I’m responsible for things bigger than myself. And I want to do right by them.”

Indeed, Alex is that rare songwriter who can create songs that blend his own Young Man Blues with the grown man’s earned perspective. Check the arresting “Punks In A Disco Bar” and “Spin The Dial” for his skill at merging full-throttle hooks with memorable, whip-smart lyrics, or “Art Damage” and “Wasted Daze Of Youth” for a lesson in how rock and roll can be sinister and dissonant, and still end up beautiful.

For all the volume and the fuzz and the fury, Beach Slang is a band for sloppy romantics who got there the hard way (“I still taste you in the ash / of every cigarette you kill,” sings Alex). And that’s how the band wants it: “Whether this Beach Slang thing flies or falls,” says Alex, “we want to know that we put everything into it. We’re a rock and roll band; we make records and we tour. We want to sweat it and bleed it. We want to do it like the bands we love and respect did it.

“Without these guys,” James Alex says, “my life would feel really, really empty. And I have a full, beautiful life. But you know how some people have the ‘god hole’? I have the rock and roll hole. I’m that kid with the posters on his wall. Whether I’m right or I’m wrong, I’ve convinced myself this is why I’m here.”

Beach Slang—plug it in, turn it up, and let it scream.
Bayonne
Bayonne
Roger Sellers is not a DJ
Venue Information:
The Beacham
46 N Orange Ave.
Orlando, FL, 32801
http://www.thebeacham.com/live/