Near Beer
With a name like Near Beer, I initially did not take the band seriously, but there is nothing funny about their new, self-titled record, available via Double Helix Records. A quick read of their bio sets things straight: “Their old guitarist forced them to be called NEAR BEER. He thought it a proper slacker dad rock band name. He was the only dad. And left to do dad stuff. The band got louder and faster. But the name stuck.”
Near Beer are from LA and formed in order to create “bratty power-pop anthems that would make their younger selves proud.” Admittedly, for me, part of the initial appeal was the Boston terrier-clad album cover (it could also be a Frenchie, which would still be just as blog worthy), but the songs on this record are dynamic, full of zest, and will be fast faves of any indie rock fan that digs The Replacements and/ or Pavement.
Coming from Chicago, I grew up on Material Issue and this album kind of helps to fill the hole that’s resided in the heart of the power pop scene since 1996. This record is also slightly reminiscent of The Figgs’ Low-Fi at Society High, which is one of my all time favorite albums from this particular brand of music. It also just occurred to me that some of you kids have probably never heard of The Figgs. Now you have. Come for the Near Beer and leave with a handful of new records to buy. You’re welcome. Also, you need to get out more.
But, anyway, Near Beer’s new LP is full of fantastic tunes; however, as I sit here, listening and typing, if you’re not in an entire-album-kind-of-mood, give “Mixtape Generation” a go. It’s punchy, well written, and the title alone is a throwback for any Gen X cardholder:
When it comes to reviewing entire bodies of music for bands I’ve never heard before, one of my favorite things to do is put the songs in order of how I imagine them in a live setting. In this case, with this album, I would put “Sleeping is for Suckers” as a set opener. The guitar intro would get everyone’s attention before the song ultimately kicks the audience in their metaphorical hindquarters:
Band member Joey Siara claims that this album is a rejection to the idea of having to leave music behind in order to fully embrace adulthood: “There are lots of little thoughts on 'adulthood' or whatever scattered throughout, but most importantly to us, this record is about making peace with the fact that we simply love music and don't really know how NOT to be in a band. Being in a loud indie rock band with your buddies and tons of guitars feels right, and in a world that kinda sucks at the moment, we want to do whatever we can to foster a little joy and human connection."
Mr. Siara, consider the joy fostered.
-TM