Excuses, excuses, excuses. Last year, while interning at Social Services somewhere in rural, truly ass-backwards Virginia, I ran across the case of a client-- we'll call him the Deer Hunter-- who I thought needed a good one (excuse, that is). As they say, "Virginia is for Lovers." In this case, the Deer Hunter was in love with two things: hunting and humping. Police learned that the hard way, discovering him outdoors in flagrante delicto with Bambi. I'm not talking a hooker, either. I'm talking a deer. A fresh kill, as it were. And a fresh "conquest," I might add.
Considering Virginia's Criminal Code, which outlaws sodomy, cohabitation, and all sex acts between unmarried persons, one would think that the Old Dominion would have made room for necrobestiality. But one would think wrong. The Deer Hunter needed no excuse for his carnal passions-- deer-scrumping is punishable in a court of law only if the animal is still living. Dead animals are fair game. Somewhere in Virginia, shotguns are being loaded.
Minus the Bear, a quintet from the northwest comprised of members of Botch, Kill Sadie and Sharks Keep Moving, have more in common with the Deer Hunter than they might like to think. For one thing, just as the Deer Hunter needed no excuse to ride, Minus the Bear needs absolutely no excuse to rock. But who ever did? It is no crime to rock. So, without shame, Minus the Bear charges forth, imbuing their debut seven-track EP, This Is What I Know About Being Gigantic, with fervent rock energy.
This is not, however, your ordinary missionary-style rock and roll. Consider again the Deer Hunter; one can hardly blame the guy-- his kids were probably growing older, losing their sex appeal with each passing day. So, instead of letting life control him, he grabbed it by the antlers. Call it perverted, call it resourceful, call it what you will. But one thing is certain: the man was creative. Like Jed, Minus the Bear are innovators. No strumming or chunking here; axe-man David Knudson drives the band with fluid, catchy, tapped riffs. The bright, focused guitar tone is a trademark of Minus the Bear's sound. Another twist is the band's electronic elements: noises whisper, hover, and gurgle in the background, adding depth and richness to the mix.
The drums are propulsive and complementary, jumping with the same energy as the guitars. Erin Tate is an active drummer, frequently adding firm tom and snare fills. Bassist Cory Murchy, who with Tate make up Kill Sadie's rhythm section, has a great time and a great ear; his basslines lock solidly with the other rhythm elements, while providing tasteful harmony. Vocals, courtesy of Jake Snider, are infrequent but appropriate; they act more like a fifth musical element than a song's centerpiece.
Minus the Bear's song structures are equally as creative, going the prog/math-rock route in pursuit of unexpected bridges, rhythmic dynamics and time signatures. The opening track, amusingly titled, "Hey, Wanna Throw Up? Get Me Naked," is a great example. It lifts-off with a cleanly tapped riff, then cuts to power-rock for the chorus, and weaves in and out of a fuzzy, waltzing bassline and gurgling synth to close. The album's finale, "Pantsuit.Uggghhh," drones for two minutes before a jagged guitar riffs intrudes and adds tempo. Snider repeats the chorus, "No one sleeps yet/ Let's keep it going til the morning," while Knudson merges into a characteristic tapping, contrasted by intermittent bass jabs. Unconventional but catchy as all hell.
The Deer Hunter needed no excuse. Minus the Bear needs no excuse. Add another to the list: you. You need absolutely no excuse to add Minus the Bear to your CD collection. Any group this tight and proficient on their first recording undoubtedly has much more to say. And at the price of an EP, This Is What I Know is about as cheap as a walk in the woods.
