Album Review: Minus The Bear – "Infinity Overhead"
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Infinity Overhead, the fifth LP from Seattle-based indie math-rock band Minus The Bear might be the group’s most mature and eclectic record yet.
Right away, the first sound you hear as track 1, “Steal And Blood,” starts is distorted guitar. Much to the dismay of those who may be yearning for some more Omni-ous synth power, that first sound proudly marks the return of the guitar as MTB’s primary instrumental focus and sets the tone for the rest of the album. However, that doesn’t mean the record is completely void of synths and electronic effects (Oh don’t you worry, there are plenty of those). In fact, the mixture of tones on Infinity Overhead is more eclectic yet balanced as a whole than ever before. It’s clear that over the past decade, the guys in Minus The Bear have truly mastered dynamics and flow within an album. This new product seems to be an accumulation of everything they have learned in that time. The sound is still unequivocally “them,” but in a way that is re-inspired and more “mature.”
This is likely due to a couple of factors, the first and foremost being the involvement of producer and former member, Matt Bayles (Mastodon, Cursive, Vanna). Bayles, a founding member who used to play keys/synths in the band, had produced most of their albums”including renowned LPs Menos El Oso and Planet Of Ice”until 2009 when the band decided to try something different and work with producer Joe Chiccarelli (Mika, Dredg, Manchester Orchestra) on
Omni. The differences in that album”where reverb and riff-laden post-rock were traded in for synths and funky sex-jams”alarmed fans. After the mixed/negative reactions (from many fans whom feared that the band might be leaving guitar behind) and after a full U.S. tour to perform their first LP Highly Refined Pirates in its entirety in celebration of the album’s 10-year anniversary, returning to Matt Bayles seemed like both a smart move and a nostalgic decision. As bassist Corey Murchy explains on their label Dangerbird‘s website, with Bayles “it was like old times, but both Matt and the band have had time to work outside with other people and we were both able to bring back what we learned and apply it to the old feeling.'” The way drummer Erin Tate sees it, “‘when we started this band we were building a house with the first three records, then with Omni we decided to go to a beach house. Now, with Infinity Overhead, we are back working on our house.’ Bassist Cory Murchy succinctly exclaims: ‘We didn’t go anywhere, but we’re back.'”
These statements could not be more accurate. Every song on this album has elements that can be specifically traced back to previous releases, while still having a bit of that new funky sexiness from Omni sprinkled in (ex. “Toska,” “Empty Party Rooms”). The second track “Lies and Eyes” fully delivers what many Minus The Bear fans may have missed most: Dave Knudson‘s famous finger tapping and endless ability to create tasty but tasteful riffs. This is accompanied by the band’s familiar dance rhythm and synth effects played by Alex Rose, reminiscent of those heard 
on Highly Refined Pirates. If that’s what you’re into, then you’ll also love “Zeros,” which sounds like it could have come right after the Pirates interlude “Damn Bugs Whacked Him, Johnny,” while still having a guitar solo that rocks like Planet Of Ice. However, don’t think for one second that this band is recycling old ideas. All attributes on this album come across as better, fresher takes on what the band does best. Even Jake Snyder‘s vocals have improved with just a little more vibrato and emotive emphasis than usual, just enough to match the serious emotional level of the lyrics in these tracks (ex. “Lonely Gun,” a highly personal track about Snyder’s contemplation of suicide).
After the first two distorted rock tracks, the mood and tempo drastically shift with the delay-drenched landscape of “Diamond Lightning.” This single sounds like the sister track to Menos El Oso‘s “Pachuca Sunrise,” especially in terms of Synder’s lyrical imagery (“Liquid concrete under our feet/Trippin’ on the constellations we see/Diamond lightning/Seeing where the seams are sewn in“). The band seem to cover all of their bases in terms of keeping themselves grounded within the 
“house” they’ve built with previous albums. Even their Acoustics EP comes to mind with the track “Listing,” an upbeat soother that gradually swells into a dramatic orchestra-engulfed aural painting. The delivery into the chorus sounds like it may have been inspired by that of their acoustic version of “Throwin’ Shapes.”
Overall, Infinity Overhead is the perfect addition to the Minus The Bear discography. It is a landscape of sonically complex textures integrated with one another to keep the listener moving, be it dancing or swaying. It has emotional depth, while still being playful and nostalgic for fans of their earlier material. As for listeners who have never heard Minus The Bear before, this could actually be a good starting point, as it captures
the epitome of what they are all about. In true math-rock fashion, one could illustrate the dynamic envelope of this album with a parabola. Allow me to explain. It starts with upbeat distorted rock, then gradually slows to the long and lofty centerpiece “Heaven Is A Ghost Town,” only to pick back up for the album closer “Cold Company,” a heavy distorted head-banger with borderline metallic riffs and an outro that is about as “epic” as a band like this could ever get. It’s nice to see a group of musicians who are still staying true to themselves even after a decade of countless tours and releases. The term “infinity overhead” just might be the perfect description for the trajectory of Minus The Bear’s success. Booyah achieved.
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