Girl Meets Bear new EP Flight Path.
Girl Meets Bear released their debut EP Flight Path back in March, and over the past week we’ve been giving this Synth Rock duo from Edmonton a thorough listen through. That hybrid of synth-pop and rock is always a tricky balance to pull off but when its done right, its something even hardliners both sides of that genre divide can appreciate. Girl Meets Bear has achieved this in spades. They say their sound sits “somewhere between Metric and Death From Above 1979”, for us it also has that dirty edge you hear from a band like ‘The Kills’, with those sprightly synth strokes you get from ‘The Chromatics’. Flight Path will definitely make a playlist or two, we’re enchanted with the whole record but ‘Blood Moon’ (attached below) is a great representation of what this band does best!
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More about Girl Meets Bear (From their Biography)
Much has changed with Girl Meets Bear since the duo emerged from Edmonton, Canada with fresh home grown demos in 2011. Although, Rebecca Emms and Joel Bojeczko’s unique approach to songwriting has not wavered, the duo’s sound has vastly expanded and matured through the collaboration of Toronto’s Mike Rocha (Electric Youth, Greys).
Girl Meets Bear’s debut EP (released March 18, 2016), entitled Flight Path, is an album of work that calls on vintage new wave elements, contemporary synth-pop hooks, and Canadian rock sensitivity. Sitting somewhere between Metric and Death From Above 1979, GMB have done their homework and it shows on Flight Path. Their 2015 single “Ignore”, also from the upcoming EP, has enjoyed radio play across North America and television placement on CBC’s sitcom Schitt’s Creek.
Their newest single from the EP, “Blood Moon”, combines 70’s disco sleaze and an unrelenting alternative rock stomp, all while flaunting Girl Meets Bear’s ability to flex to their sultry side. GMB and Mike Rocha created a slow burning intro which is met by a glam bass groove dripping in sludge. This sets up the charging, seductive, breathy vocals delivered brilliantly by Rebecca Emms. The song’s minimalist chorus uses only 4 words to sweep into a cosmos of watery Rhodes piano and sparkling club synth over gnashing guitar reminiscent of Johnny Greenwood. Now this all may sound obscure to avid alternative rock fan, but rest assured “Blood Moon” is also a great track to play loudly, with the windows down, on the days when you just want a song to feel good about.