Cancer Bats - Bears, Mayors, Scraps & Bones reviews
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| Rocksound |
 The Beastie Boys cover that ends ‘Bears, Mayors, Scraps & Bones’ will surely grab all the headlines, but the thirteen tracks that precede it do so much more than play a supporting role to ‘Sabotage’. With less thrash and more fuzz Cancer Bats have taken a small, but interesting turn as they push the grime and intensity of their sound with solid new tones never before heard from the quartet. Can this record be given the credit it deserves in one hundred words? Absolutely not. Crusty, jarring and still as acerbic as ever, this is Cancer Bats at their best....full text |
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| Allmusic |
| Toronto-based punk-metal band Cancer Bats' third album on as many labels retains all the aggression and rage of its two predecessors. Their sludgy sound is hard to characterize -- it's not as raucous and raw as punk, but it lacks the sometimes inhuman precision of death metal or thrash. The vocals are a harsh scream, occasionally supported by clean counterpoints, but "harmony" is a concept with which Cancer Bats are apparently unfamiliar. They're also not big on showy displays of technical virtuosity; these songs are built from riffs guaranteed to get crowds riled and shouting along, but the guitar solos are short and to the point, as they were with bands like the MC5 or the New York Dolls. They throw in a few variations on their basic formula without ever becoming progressive or "experimental"; the sidewinding riff of "Snake Mountain" and the slow-burning stoner rock of "Raised Right" are clearly the product of one band with one vision. If the album has a flaw, it's the excessive length -- 14 tracks in 45 minutes should have been shaved down to ten in 30. But overall, this is a solid effort from a band with a lot to offer fans of aggressive rock who aren't too worried about categories....full text |
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| Bbc |
Cancer Bats might be used to turning tiny venues into roiling pits of punk rock hell, but with Bears, Mayors, Scraps & Bones they’re aiming not just to consolidate the considerable success of their last album, Hail Destroyer, but better it. And, comedic-but-still-effective cover version aside (their brutal version of Beastie Boys’ Sabotage is both chucklesome and deliciously headbangable), rather than dialling up the melodies they used to weave among the noise, this third album is violently heavy.
There’s something pleasingly lo-fi about the likes of Doomed to Fail and Trust No One – guitars are set to bludgeon with the odd harmonic squeal here and there, with little relief apart from the few moments when the Bats take a split-second breather before ploughing another grinding furrow. Opener Sleep This Away, too, is relentless in its heaviness, edging towards the sludgy end of hardcore: it must have been tempting to put out a whole album full of Hail Destroyer-lite cast-offs and the sheer anti-social nastiness of much of Bears… might put off the casuals, but more than anything this sounds like a hugely fun record....full text |
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