Minus The Bear

Minus The Bear

2012, Summer. Seattle, Washington, something mucho significant was built by 5 dudes' touch. It is called Infinity Overhead. When the air filled with this piece, heat, light, noise and color to be transformed into stream and traveled through the air with the time shift. Pull and push, depth versus altitude. This romance is like having a high tech air-in choccolata from east village. Once you put the cioccolato inside the mousse, something seeps out all around and it smoothly embraces everything they meet. During this process, all the elements start to kick in, sweetness, bitterness, sourness, and saltiness. Flavor dominates all over the mousse. It clings around and soaks in quietly, then fragrance starts to evaporate through tiny sky inside the dark, merge back into the air. Signals flow to the brain and it delivers the joy to the body through the tide. All commotion appears on the movement makes the body sweats and shivers. After a while all these processes change its shapes and falls into mind, realizes it taste like soil in the wildness or unseen experience turns into little piece of unknown memory we might see tomorrow.

Elements to become alive, things might have to go through some process, mashed, squeezed, roasted, fermented, hydrated, blended, and purified. When the time starts to lose its sense, things will slip out from nowhere or somewhere and start to shape. It's obvious but invisible, like instinctually tracing the path of light waves and particles. It looks like Minus the Bears' fifth window made the light change into the color eternally.
– Hiro Tanaka (Tour Photographer, Vibe Tech, Longtime Amigo), June 2012

• Infinity Overhead was recorded from January-April 2012 at London Bridge Studio & Red Room Recording in Seattle, WA.
• Infinity Overhead is the band's fifth full-length album.
• Infinity Overhead was produced by Matt Bayles, longtime producer and former founding member.
• Minus the Bear is Jake Snider (vocals, guitar), David Knudson (electric & acoustic guitars), Cory Murchy (bass), Alex Rose (keyboards, saxophone, background vocals, programming), Erin Tate (drums & percussion).
• Minus the Bear formed in Seattle in 2001.

INVSN (pronounced "invasion") was birthed from the subcultural landscape, imbued with the passionate spirit of hardcore-punk and emboldened by the rich history of rock n' roll. The Swedish band released a couple of records in their native tongue, under the name Invasionen, before deciding to "invade" the rest of the world with their English language debut. This embryonic period allowed them to steadily develop a sound that delivers subversively deliberate pop through a post-punk lens.

INVSN's Invsn embodies elements of Joy Division, Echo & The Bunnymen, lesser known seminal UK band The Sound, early outings from The Cure and modern acts like The XX and Soft Moon, all through the prism of people who loved Black Flag growing up. It's no wonder the band have managed to create something refreshingly new from classic elements of the past: members of INVSN spent time in the tirelessly revered Refused, garage revivalists The (International) Noise Conspiracy and thrashers D.S.-13.

The record was created at Stockholm's Studio Ingrid (formerly Polar Studios), with mixing duties handled by English album producer Nick Launay, whose distinguished credits include INVSN reference points like Public Image Ltd., Nick Cave, Siouxsie and the Banshees and The Church. Launay shares mixing credit with Danish producer Jacob Hansen, who has worked with Volbeat since their early demo days.

The transcendent, atmospheric and consistently engaging songs on INVSN's self-titled debut recall the strongest elements of '70's psych and '80s New Wave, with hints of each decade that followed and a forward-thinking vision of the future. The end result is a sound that is at once both timeless and nostalgic. The world doesn't even realize how ready it is for this album. And that's OK. This group of musicians is used to being ahead of their time; they don't plan it that way, they just can't help it.

The creative impulses that have driven the members of INVSN since they began playing music have carried each of them aloft like a mythical muse, often forsaking careerism for the sake of authentic realism. By the time the world realized that frontman Dennis Lyxzén's former band, Refused, had defined a generation, they were gone. In the wake of Refused's three-album career, a multitude of bands traded on much of their innovative sound, attitude and image to gain fame and fortune.

When The Shape of Punk to Come was reissued more than a decade after its initial release, Pitchfork raved about its power and unique mystique. Rock Sound gave it a 10/10. Kerrang! had already put it in their "50 Most Influential Albums of All Time." But when people were catching up to Refused after their split, Lyxzén had moved on, fronting garage rock obsessed art-rock provocateurs The (International) Noise Conspiracy. Rick Rubin, whose resume contains no shortage of icons and innovators, produced (I)NC.'s last two albums and released them through American Recordings. (I)NC. wore their progressive politics on their proverbial sleeves, paving the way for a so-called "Return of Rock" that resulted in huge commercial success for other bands.

After a 12 year run, (I)NC. took a break that became an extended hiatus. Lyxzén played in the power-pop group The Lost Patrol Band. Lyxzén and his friends remain one step ahead, with the stars about to align for the first time between inception and acceptance through INVSN. The members of INVSN came together organically, a group of friends determined to make the type of music they themselves wanted to hear. Lyxzén is joined in INVSN by (I)NC. bandmate Sara Almgren (who has played with the punk band Masshysteri), Andre Sandström (DS-13), Anders Stenberg (who has worked with Swedish pop star LYKKE LI) and their friend Richard Österman. Lyxzén, Sandström and Stenberg have played together since 2004. During (I)NC., this was the fun side project. It eventually just took over, after a few hundred shows and five years of playing together, giving them an edge over newer acts who often sprout out of nowhere and immediately are signed.

"#61" opens the album and reminds listeners that music can be a world-changing force, starting at the individual level. Don't give up on radical politics, on innovative culture, whatever has moved you inside. It's an angry song that rails against the idea of music being relegated to a background playlist or soundtrack to a club. "Vaesterbotten" captures the darkness of the wintery area near where the band calls home, opening sparsely and gradually building up in instrumentation. It's about ending up in a place like "Vaesterbotten," a place criminally underappreciated. "Our Blood" was laid down in one take and milks a few chords to maximum potential; a simple change in bass line or other slight movements altering the mood tremendously. Album closer "Hate" is an anthem for the world's misfits, picked upon outcasts and bullied kids. It's a call to arms to let that energy become empowering.

It's rare that a band sets out to become trailblazers, architects of a new sound or otherwise massively influential and acclaimed. Many are often imitating some sort of formula. Others who do aspire to greatness are often doomed to fail thanks to the limitations of their own creativity, or will flameout after some fleeting commercial success. But like the handful of iconic tastemakers whose legacies have stood the test of time, INVSN is doing it for the right reasons. This will ensure a body of work that will endure, that will continually inspire, striking a special chord around the world, igniting that same fire that caused INVSN's members to make their first noise.

Slow Bird is an American indie rock trio, created in Seattle, Washington during March of 2011. The musical collaboration was conceived by Joshua Dore (guitar), Matthew Street (drums, bass), and Jennae Quisenberry (Fender Rhodes, vocals.) Intensely dynamic, the composition flows with constantly evolving tones and interludes which ascend into pivotal zeniths of emotion. The soaring guitar leads compliment the haunting vocals which constantly cascade into visceral sentiment; submerged with rich bass tones and driving drums. The experience elucidates the audience into full attention, the termination of which leaves the listener plummeting back into tumultuous reality.

Listed by DLIST magazine as one of Seattle's up and coming artists to watch in 2013, Slow Bird is an experience you won't want to miss as their impact deepens across the northwestern music scene.

$22.50 - $25.00


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