Spirit of the Bear – Remains

As a whole, the focus of most of the reviews you’ll find on Tuned Up will go in one of two distinguishable directions: they’ll cover moderate to big name artists you’ve probably heard of, and then they’ll cover lesser-known artists. Since joining the site, I’ve noticed how immersed the majority of my co-writers are with the local music scene, particularly in the Ohio area. For that matter, wherever our writers reside, I’d probably be same in assuming it’s not that hard to find great talent nearby. Even in Southwest Missouri, I’m still able to find at least one or two acts that grab my attention. Even still, I ask myself “Why am I not writing about local bands more? Is it because I’m attending college in the middle of nowhere and don’t get out as much as I should? Is it because I usually only attend a couple shows a year? Am I failing to show support or interest in indie music? What gives?” Clearly, it’d be in my best interest to fix this problem, and that’s just one thing I intend to do by introducing our readers to Spirit of the Bear. Hailing from Youngstown, Ohio, Spirit of the Bear are a five-piece genre-defying band who are getting ready to follow up their 2015 debut Forests with their newest record, Remains. Eclectic and compelling, Remains deserves your time and attention.

Opener “Backtrack” is a simple yet impressive introduction to the wide range of genres on this record. The prominent guitar work blends nicely with the underlying trumpets, giving the track a vibe that resonates somewhere in-between big band and blues. Following track “Bring Me Down” marks a shift to a more straightforward rock feel, albeit combined with some noticeable but admirable synth work. Frontman James Harker has impressive control over his vocal range that ties the whole song together and leaves the listener impressed from the very beginning. “From the Floor Up” is one of several cuts that instantly reminds me of the blending of genres that fellow Ohio natives Twenty One Pilots pull off so well. What’s notably different with Spirit of the Bear’s attempt, however, is how much smoother and consistent it is compared to that of the former. A flute-like synthesizer initially carries the majority of the track’s weight, but combining it with various electronic elements and programmed drums spreads it out nicely. “Cold” is a little more uptempo with a slight underlying reggae feel, but it’s just as accessible (if not more) than its predecessors. The prominent bass work throughout is decent as well.

“Too Late!” begins quite minimally with just guitars and vocals, but halfway through more instruments are added, building up slightly in the bridge and outro with a similar feel to that of the first two tracks. The slight dissonance in the synth line adds a heightened sense of excitement, only to be brought back down in the following track, an interlude called “Waltz No. 1”. Aside from a somewhat humorous voiceover and background noise, the track is mostly instrumental, with a fair amount of emphasis on the piano and guitar. The fact that the entire track is fed through some sort of filter that makes it sound like an older record playing is fairly enjoyable in itself. It segues into “Will I” with a similar melody. Backed by a soft jazz piano, the song is lyrically introspective, acting as somewhat of a cry of desperation as Harker sings “Will I be in your frame of mind? Will I be worth your precious time? Will I be the one to blur the line between what’s real and what’s inside?”. Following track “I Can’t Breathe” shifts the record back to a programmed/electronic focus. The arpeggiated synth line in the beginning sets the stage for the triumphant layering of electronic instrumentation in the chorus that’s carried out throughout the rest of the track. Undoubtedly the highlight of the record, “I Can’t Breathe” will be one to set on repeat.

“War” has a slight West Coast vibe to it, but ultimately comes across as fairly straightforward like “Bring Me Down”. I enjoy the synth work in the bridge quite a bit, and the shifting of 4/4 and 5/4 time signatures is pretty nice as well, even if it runs slightly long. The title track follows and from a musical standpoint is probably the most interesting of the entire album. In addition to the multitude of electronic elements, the majority of the vocal work is rapping. It would feel out of place on any other track, but it’s done on this track in a way that harkens back to the aforementioned Twenty One Pilots influence. Said influence is solidified with the final part of the song, as there’s this stylistic shift from subtle hip-hop to electronic rock. “Skulls on a Shelf” begins with ambient noise that’s later joined by vocals and guitar in unison. Immediately it reminds me of some of Trent Reznor’s film scores with Atticus Ross, as well as Carrollhood’s score for Underoath’s Tired Violence documentary. While short, it’s a well-rounded track that serves as a decent transition into album closer “Memories”. Starting out minimally in instrumentation, the song continues to build in terms of layering and volume. The last two minutes leave room for the band to exemplify every one of their strengths, and ultimately become the album’s most redeeming moments.

The way music is made and the means of doing so are continually changing. The average consumer has some sort of device in their pocket that can readily capture their ideas on the go. More prominent acts are inspiring future artists to put as much effort into their music as possible. What we refer to as genre is slowly dying. We’re steadily learning that we are no longer held back by what we think we can’t do. Indie music’s greatest strength is the ability to prove the disparaging aristocracy we refer to as the industry wrong, like a proverbial middle finger to the imposed norm. The importance of indie music and the quality put into it deserves our attention now more than ever, and if anything, Remains serves as a testament to that notion. Overall, it’s an impressive body of work that does more than just captivate the listener. In my own case, it’s very rare that I find local music this good that could compete with other well-known acts, and while Spirit of the Bear is still in the early stages of solidifying and fine-tuning their sound, they can only go up from here. Remains shows a lot of promise; not just for the band attached, but for indie music in general.

[youtube]https://www.youtube.com/watch?v=jTg-wOTYOWY[/youtube]

Score: 4/5

Spirit of the Bear: Facebook | iTunes

 

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