info wydawcy:

This is the reunited Guided By Voices' third album of 2012, in case you had lost count.
Right off, from the opening track "King Arthur the Red," with its full-throated riffery, slam-tastic drums, and even some show-offy lead guitar shredding, it's evident that GBV Mach 2 may just now be hitting its stride. The progression is not dissimilar to the one the band made from Alien Lanes to its 1996 high-water mark Under The Bushes, Under The Stars, both in terms of longer, more fleshed-out songs and let's call it a semi-pro approach to recording fidelity. For all the well-deserved acclaim GBV's first two records this year have garnered, Bears is a step up in every sense. This isn't to say there's a whole lotta gloss going on, and certainly the album has its share of more casually considered songs, but from the relentless drum figure that fuels sure-fire-live-staple and obvious single "Hangover Child" ("the best thing [drummer] Kevin [Fennell]'s ever played" sez Pollard) to the chugging, melancholic, melody-mad "White Flag" ("I think you know this time it's real," Bob sings over an almost New Order-ish bass line) to the propulsive, early-R.E.M.-inflected album closer "Everywhere Is Miles From Everywhere," the 19-song 43-ish minutes long Bears delivers a gut-punch as sure and assured as anything the band's ever dished out. And that's without mentioning the stellar contributions of Tobin Sprout ("The Corners Are Glowing" and "Waving At Airplanes" are particular standouts), bouts of unrestrained whimsy like "The Military School Dance Dismissal," featuring what sounds like seven Robert Pollards singing in unison/harmony over a Beatle-esque piano line, the punning workplay of "She Lives In An Airport," or the staggering work of heart-breaking genius "You Can Fly Anything Right." Add to this Pollard's two excellent 2012 solo albums, a raft of festival appearances and some club touring, and you have possibly the most consistently productive out.......
more

info wydawcy:

This is the reunited Guided By Voices' third album of 2012, in case you had lost count.
Right off, from the opening track "King Arthur the Red," with its full-throated riffery, slam-tastic drums, and even some show-offy lead guitar shredding, it's evident that GBV Mach 2 may just now be hitting its stride. The progression is not dissimilar to the one the band made from Alien Lanes to its 1996 high-water mark Under The Bushes, Under The Stars, both in terms of longer, more fleshed-out songs and let's call it a semi-pro approach to recording fidelity. For all the well-deserved acclaim GBV's first two records this year have garnered, Bears is a step up in every sense. This isn't to say there's a whole lotta gloss going on, and certainly the album has its share of more casually considered songs, but from the relentless drum figure that fuels sure-fire-live-staple and obvious single "Hangover Child" ("the best thing [drummer] Kevin [Fennell]'s ever played" sez Pollard) to the chugging, melancholic, melody-mad "White Flag" ("I think you know this time it's real," Bob sings over an almost New Order-ish bass line) to the propulsive, early-R.E.M.-inflected album closer "Everywhere Is Miles From Everywhere," the 19-song 43-ish minutes long Bears delivers a gut-punch as sure and assured as anything the band's ever dished out. And that's without mentioning the stellar contributions of Tobin Sprout ("The Corners Are Glowing" and "Waving At Airplanes" are particular standouts), bouts of unrestrained whimsy like "The Military School Dance Dismissal," featuring what sounds like seven Robert Pollards singing in unison/harmony over a Beatle-esque piano line, the punning workplay of "She Lives In An Airport," or the staggering work of heart-breaking genius "You Can Fly Anything Right." Add to this Pollard's two excellent 2012 solo albums, a raft of festival appearances and some club touring, and you have possibly the most consistently productive out.......
more