If you’ve not yet heard of Bear Hands then hastily grab the nearest seat and start a prompt listening indulgence. The Brooklyn four-piece have steadily and modestly crept into the record collections of many, boasting an ample exhibition of surging alternative, post-punk and indie-rock racket. Proficiently active in twisting perceptions and warping minds, much of the joy of listening to the band now comes in 2016 as they deliver their third studio album; You’ll Pay For This.
There’s something really likeable and warming gathered throughout the first listen of the record. A confident playing style matched with endearing instrumental control showcases their ability to collectively escape alternative-rock traditionalism. Boss is an example of crisp indie intricacies and a classy buoyant form, whereas The Shallows locates around the folkier, spiritual affirmations. Dainty vocals gravitate around a thick acoustic function and slower percussive permissions in this clearer and catchier definition. There’s also room for a knee-weakening guitar solo, echoing into a faint and subtle environment.
With the band catering to a number of genre-bending styles, each track exposes the unlimited potential of such a charismatic and morphing soundscape. Like Me Like That propels a contemporary indie fervency, as Marathon Man details a creative psychedelic and electronic generation – an instant earworm. Detailing a bold tempo switch and kineticism, Winner’s Circle begins with an explicit danger both industrious and rough before I See You installs a huge drum and guitar acuity – incorporating Rau’s ultra-expressive vocal persona.
This cohesive sound development surges between each distinctive element on the record. The bass formations by Val Loper detail Orscher’s drumming prominence, just as Ted Feldman’s involved guitar programming highlight Rau’s proper sung elevations. As a whole, You’ll Pay For This adds another sparkle to a growing Bear Hands legacy; pleasuring fans with indie nuances and active composition.