Bear In Heaven's new album is aptly titled Time is Over One Day Old. It's a record with a visceral relationship to time and its processes. Where invulnerability and ambition can support you as you grow, at some point they become dead weight, and being true to yourself means casting them off, starting anew. This plays out as a powerful analogy for the band across the arc of it's career. They've always made intriguing records, here especially. It's easy to see why musicians fall hard for this band. They entice and envelop you. Any Bear In Heaven song will most likely greet you with a provocative beat, textural synthesizers and unassuming but adeptly supportive bass and guitar, all exquisitely arranged and glistening. Jon Philpot's high, smooth, strong voice is so tightly wound into the music that it can be easy to overlook the lyrics, Bear In Heaven's capacious third dimension. Philpot is a center-seeking, contemplative writer who captures the fleeting thoughts that underscore our emotional lives, the interactions with the world that are both difficult to express and anathema in daily conversation. While all of this can be said of any Bear In Heaven album, each varies wildly in tone and approach. 2007's Red Bloom of the Boom is ambitious and experimental. Beast Rest Forth Mouth (2009) was a pivotal record that still feels important, seductive and intense. On their 2012 LP I Love You, It's Cool the structural and musical ideas are challenging, and masterfully developed. For Time is Over One Day Old, we witness the band once again turning their gaze inward and prioritizing their evocative abilities in line with or even slightly ahead of technical skills. It feels very much in the tradition of BRFM in that way. It's beautiful; it's moving. Here Philpot and Adam Wills are more deeply collaborative than ever. This album is darker at times, louder than their others; it feels personal and direct. "If I Were To Lie" places Wills' bass groove front and center, "Demon" is riveting and propulsive in spite of its dark pointed lyric, and "They Dream" dissolves into three and a half minutes of deeply satisfying ambient synth work in its second half. Wills has always been the bands anchor, providing rock solid, rhythmic bass lines and guitars that blur the boundaries of Philpot's synth. Though in moments such as the final track, "You Don't Need The World," Wills cuts through with an audacious, biting guitar hook. It's a great culmination of the album's sense of release. This album isn't about being dark, it's about releasing darkness and frustration. When bands age well, their vitality takes shape. They wear, but with intention. They trim excesses. Throughout this album you'll hear a band at peace with themselves. They've learned to cut back on that which is merely impressive and to concentrate on simply what is crucial. For Philpot this is about making something lasting. "A lot of shedding, getting rid of layers and preconceptions? breaking up with old ways of thinking, old ways of being, starting to look at this thing in a new way and finding something positive." The result is a record that will stay with you.
I Love You, It's Cool is the first time Bear in Heaven has sounded so unapologetic and so evolved, so risky and so redeeming, so focused and so finessed. After years of restless exploration, this feels like a definitive arrival. I Love You, It’s Cool is music written in the present tense but ready to speak to the future. The work is its own rarified reward.
Bear in Heaven have trapped echos, tremors, winds, and fading light. They've redefined time, and folded it. They've unbuttoned sound, and realigned it. Within four walls in Brooklyn, Jon Philpot, Adam Wills, Sadek Bazaara, and Joe Stickney mined the democracy of their collaboration, plus the endless hours of stream-of-consciousness recorded documentation of rehearsals over the past years, to conceive the crystalline form of Beast Rest Forth Mouth, their second album, their exaltation.
The first manifestation of Bear In Heaven's Beast Rest Forth Mouth, the Wholehearted Mess 12" EP is pressed in jewel-like multicolored vinyl. Bear In Heaven curated remixes of the single "Wholehearted Mess" from Pink Skull, Max Brannslokker, and Arclike, resulting in the creation of a unique tributary off Bear In Heaven's own musical flow and in a bona fide banging dance-friendly record. Limited to 1000. Comes with a digital download, so you can take it with you.
“Red Bloom of the Boom” marks the in-between moment of Jon Philpot's solo explosion becoming a full band's orchestra of sound. "We started clean and natural and as time passed we twisted, distorted and tweaked. After all that we're as handsome as ever," says Philpot, in a simple-yet-accurate explanation of the monster of a band that Bear In Heaven, unassumingly walking the streets of Brooklyn, has so suddenly, but deliberately, become.