The Bowery Presents
Silversun Pickups

Silversun Pickups

Minus The Bear

Fri, November 17, 2017

Doors: 7:00 pm / Show: 8:00 pm

Brooklyn Steel

Brooklyn, NY

$42.50 ADV / $45 DOS

This event is 16 and over

Silversun Pickups
Silversun Pickups
It’s no secret that Silversun Pickups score the soundtrack for the cacophony and quiet of the urban environment. Their songs curl like a sleeping dragon around the foothills, soar between the skyscrapers, and slouch in the shadows of forbidden offramps and skid row.

Now, three years after their second record, Silversun Pickups are currently in Topanga, CA, working on their highly anticipated new record with producer Jacknife Lee (U2, Weezer, REM, Snow Patrol). The record will be released in the summer of 2012 on the band’s longtime home, Dangerbird Records.

Silversun Pickups have sold over 1 million records worldwide. Their first EP, Pikul, was released in 2005. While it hinted at great things to come, no one was quite prepared for the explosion of the band’s debut LP, Carnavas. Released in 2006, the record peaked at #81 on the Billboard Top 200 and was the #1 Alternative and Independent record for four consecutive weeks. The fantastic single, “Lazy Eye,” peaked at #4 at Modern Rock. In 2009, SSPU followed up with the equally powerful Swoon. That record debuted at #7 on the Billboard Top 200 and was in that chart for over 22 weeks on the strength of the #1 Modern Rock smash, “Panic Switch.” On November 25, 2011, they released the limited edition Seasick 10” to support independent retail.

Silversun Pickups came of age in Los Angeles’ multicultural, bohemian enclave, Silver Lake, where the members learned to overcome their fears through playing in the organic network of clubs and bars that birthed Beck and Elliott Smith.

“When we were starting out, we were too shy to turn up the volume. Now we’re not afraid to get loud,” Aubert says. “I used to be nervous to go to the mic, now I swallow it.”

As Carnavas snowballed into an avalanche of critical praise, landed them on the Billboard charts and gained recognition from nose-turning indie rockers and mainstream pop lovers alike, frontman Aubert slowly realized that Silversun Pickups’ musical landscape was changing too. “We were landing on charts in countries I’d never been too, like Chile and all over South America. Things were changing fast.”

After two-plus years of touring, the band returned home to a different place than they had left. “It was a dark time when we got back. We had to water the relationships that we had neglected over those two years, and I think this darkness came out on our second record,” Aubert says.

More news on the new record will be revealed soon.
Minus The Bear
Minus The Bear
Over the course of their 15-year career, Minus the Bear have carved out their own unique musical world. This isn’t to say they’re impervious to outside influence. They’ve borrowed components from a wide swath of genres—the brainy clangor of New York’s proto-punk scene, the cerebral buzz of IDM, the poptimist evaluation of hip-hop and R&B, and the grandiose visions of prog rock—but always managed to defy classification. Throughout the first decade of their existence, every new album offered a new musical approach, as seen in the idiosyncratic fretboard gymnastics of Highly Refined Pirates, the glitchy loops of Menos el Oso, or the modernized Fripp-inspired wizardry of Planet of Ice. By the time the band entered our current decade, their knack for reinvention yielded to an emphasis on refinement. Albums like OMNI and Infinity Overhead searched for a middle ground where their myriad of stylistic approaches could all work within the context of a single record.

On their sixth album VOIDS, Minus the Bear started with a blank slate, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. “There was a lot of change and uncertainty,” says guitarist David Knudson. “I think the general vibe of emptiness, replacement, lacking, and longing to fill in the gaps was very present in everyones’ minds.” Change was everywhere. Keyboardist/vocalist Alex Rose took on a more prominent role in composition and handled lead vocal duties on songs like “Call the Cops,” “Tame Beasts,” and “Robotic Heart,” drummer Kiefer Matthias joined the fold, producer Sam Bell lent a fresh set of ears in the studio, and the band returned to their original label home at Suicide Squeeze Records. Minus the Bear were no longer swept along by the momentum that had driven them for the last fifteen years. Instead, they reached a point where they could recalibrate and redefine who they were as a musical entity. The resulting album VOIDS retains many of the band’s signature qualities—the hedonistic tales of nighttime escapism and candid vignettes of adulthood, the savvy up-tempo beats, the layered and nuanced instrumentation—while simultaneously reminding us of the musical wanderlust that initially put them on the map.

Album opener “Last Kiss” immediately establishes the band’s renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into “Give & Take”, a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like “Fine + 2 Pts” while exploring new textures and timbres. “Invisible” is arguably the catchiest song of the band’s career, with Jake Snider’s vocal melodies and Knudson’s imaginative guitar work battling for the strongest hooks. “What About the Boat?” reminds us of the “math-rock” tag that followed the band in their early years, with understated instrumentation disguising an odd-time beat. “Erase,” recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs, but demonstrates the Bear’s ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer “Lighthouse,” they’ve traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo, driven at its peak by Cory Murchy’s thunderous bass. Not since Planet of Ice’s “Lotus” has the Bear achieved such an epic finale. All in all, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place, and a big part of that appeal is the sense that the band is heading into uncharted territories.

Suicide Squeeze Records is proud to release VOIDS to the world on March 3, 2017 on CD, LP, and cassette. Nick Steinhardt designed the artwork and layout for all formats. The first pressing of the album is available on 5,000 copies of splatter colored vinyl and 5,000 copies of 180 gram black vinyl. The LP jacket features PMS inks, a die-cut cover with a printed inner sleeve and contains a download code. The cassette version is limited to 500 copies and includes a download code as well.
Venue Information:
Brooklyn Steel
319 Frost Street
Brooklyn, NY, 11222