Opening track ‘Scapegoat’ is a heart fully on sleeve response to the rise of the far right and its claim to genuinely care about the welfare of women. For its deep dive into the personal, it becomes a sharp social commentary delivered through an intelligently formed lyrical narrative; plenty compelling without even considering the music that compliments the words with absolute aplomb, as though feeding from the energy emanating from each one.
When reviewing as a single earlier in the year, I made the comparisons My Ruin, The Workhorse Movement and Tool. Listening now I’d add an element of Rage Against the Machine to the list, found in the song’s plunging sound that reaches points of blissful audio mayhem and political lyrics ; though the fire-in-the-eyes conviction on offer here could never be misconstrued by the other side.
That all of Scare Bears three members have been in accomplished bands before really shows in the song structure; such as a moment later in the track where it really starts to take off and the addition of secondary main vocals is the touch to truly elevate it.
‘Not Just Eggos’ is punk in just about every possible respect. Opening in a way reminiscent of The Damned (the promise of a lot to come that’s then delivered on), the bass line quickly becomes equal in melodic aggression to The Stranglers’ Jean-Jacques Burnel, while there’s also something of The Clash’s energy in much of the track’s delivery, plus a frenetic dose of hardcore mosh pit mayhem for good measure too; and that’s not to mention the phenomenal twist of notes around the twelve second mark that whips the track into a sound behemoth enough to run away with itself but for the band’s ability to keep a tight reign.
‘Fuckboy Disco’ struts its way through the sham of faux feminists with some serious lyrics. Reminiscent of Self Esteem’s ‘Mother’ –the similarity unfortunately found in how commonplace the same behaviours as opposed musical style—‘Fuckboy Disco’ is drenched in absolute confidence, something punctuated with a triumphant whoop! When reviewing Lost Boys (a journey into the manosphere) I wrote I didn’t think it ever for men to label themselves feminists; this track sums up why. A song to sort the allies from the boys, the lyrical confidence is likewise captured in the music’s utterly infectious swagger.
Scare Bears is a band of many facets, each member at times taking turn on vocal duties, while Abi and Kim swap places on bass and drums. With each fully competent in every respect, the band is left with the ability to not simply switch song vibes but more so to sound like a whole different band; title and last track ‘Worse for Everyone’ perhaps the best example.
Scare Bears team photo left to right: Abi; Meg; Kim
It flows dreamy and ethereal in a style akin to the lighter moments of grunge bands such as SugarComa and Hole. In itself enough to set it apart from the other tracks, but not satisfied with this it takes a turn for the frenetic—by comparison at least—that’s also styles apart from any faster moment gone before, here being more in the ballpark of Japanese punk legends TsuShiMaMiRe.
Such is the depth and richness across the four tracks, the finesse found in those twists and turns, the Scare Bears’ debut E.P. feels far more like a full length album from an already established band!
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