A concept band of sorts – originally (and seemingly continuously) writing tracks which relate directly to bears – Anatomy of the Bear match their transient philosophy to their music. In a futile attempt to compare the band to other post-rock outfits (perhaps This Will Destroy You closest to warranting a comparison) it is immediately evident that the soundscape duo locate consider themselves firmly outside of the box. On first listens, the minimalist song structures have a tendency to bring these post-rock associations to mind, yet the clear understanding of instrumentation and the badly-hidden love for all things heavy push the sound in an altogether more unexpected direction.
Opener ‘Rua’ successfully sets the tone for the record – accurately, there is little indication that the record will incorporate double bass pedals and guitar riffs more associated with Edward Gibbs’ main outfit Devil Sold His Soul – yet simultaneously fools the audience into disregarding the continued crescendo which follows. Not until ‘Stars Above The Cave’ do the duo begin to experiment with huge sounds and swooping backdrops, and not until ‘June’ do we begin to see the inclusion of vocals.
Surprisingly, the vocals are treated with such consideration that they perfectly mould themselves into the instruments rather than becoming the key focus. Those familiar with the “lighter” parts of the aforementioned Devil Sold His Soul will be reasonably accustomed to the subtleties in the nature of Gibbs’ vocals when they’re required.
This is a record based on atmosphere, and it’s delivered in exceptional quantity. Barely together in the same space, Anatomy of the Bear display a defined direction that’s evident through the production process and song composition. The record ebbs and flows at seemingly erratic intervals, often surprising the listener by either unexpectedly detonating, or vise versa – ‘Distance’ pushes at a big finish throughout its four and a half minutes, but gracefully bow outs instead, to great effect.
These moments define the record, but may equally add frustration to those expecting bigger things. This is by no means a powerful record, but rather one of subtle nuances which, by their very nature, carry the danger of alienating some listeners. The implied love for heavy music builds a foundation but never truly rears its head – unlike a number of their contemporaries. Similarly, there are a select few moments where the multi-instrumentation does not quite fit perfectly – ‘Quietly Chasing Fireflys’ and its incessant drum machine spring to mind here. Regardless, the beauty of the majority of the composition encourages investment in the record from start to finish; even if that distance is somewhat over the hour mark.
The self-titled record by Anatomy of the Bear shines through when they are more overtly pushing the explosive boundaries. ‘Stars Above The Caves’, ‘Paw In Paw’ and ‘Dawn’ are the great examples here of what the duo are capable of. The quieter moments which sit between these tracks may not carry the same ability to evoke emotion, but still retain the beauty which departmentalises the record. The slow pace of the record will not please every music fan and may have some scratching their heads, but this is a brave and exceptionally atmospheric record. It may sound clichéd to remark that a record can take you on a journey, but this one you’d be well advised to go on.
BEN TIPPLE