A new segment on In My Ear! On the occasional-to-maybe-regular Thursday, I’ll be digging into my archive and featuring tracks that were in my ear (and on my annual playlist) a decade ago. First up, the year was 2010…..
Minus the Bear was a great, great rock band from Seattle. They disbanded in 2018 after 17 years and six full-length records, having earned a fierce reputation for expert musicianship and innovative, forward-leaning, rock music. Founded by members of metalcore and post-hardcore bands and often classified in the ‘math rock’ subgenre (“a rhythmically complex, often guitar-based, style of experimental rock and indie rock”), Minus the Bear moved from and between rock, punk, prog rock, indie, and pop-synth rock — always evolving their sound on each record.
I first tuned into them starting with their huge-sounding 2007 opus Planet of Ice and have been a fan ever since. In 2010, Minus the Bear changed labels and released Omni, a sleeker, more pop-forward record featuring this single, Into the Mirror.
A new discovery for me this week with We Are the City, a Canadian progressive rock band from Vancouver, BC. They’ve been putting out experimental albums for over a decade, tweaking their musical form that entire time to include (according to various reviews) hooky pop-rock, jagged electronic soundscapes, and artsy prog-rock. Their newest record, RIP, follows the death of a long-time childhood friend of the band members (Kyle Tubbs) and, in their own words, marks an important moment for the group. On their Facebook page, they wrote:
“RIP is our step forward, but it feels comprehensive. It does feel like a culmination. And it does feel like the next music will be the beginning of a new journey. RIP is a love letter to everyone who has shared their life with us and who has let us share our lives with them. It’s a love letter to our youth. And, most of all, it’s a love letter to Kyle Tubbs.“
Being new to this band and a neophyte in prog- and art-rock, I can’t comment on We Are the City’s musical evolution or where they fit among peers and in the indie scene. But, I can say what I really like about the record — punchy lyrics; spiky punk-pop melodies; moments of raw, ragged rock; and songs that manage to sound individually unique and interesting, but that hang together as an album.
The track that first grabbed me (and continues to grab me on each listen) is Killer B-Side Music, a song that starts quiet and builds to a thunderous, shattering, fuzzed-out chorus that feels like a howl. A howl of rage, release, triumph, frustration….really, whatever it needs to be for you. The mix and production are interesting; very little bass in that big chorus, so it’s all screaming guitar in the treble register that only adds to the ragged, slightly unhinged quality. If you’re not paying attention, it will startle you for sure. My kids love that.