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Bitter bitter weeks featured at Aquarius Records

Aquarious Records has posted a great review of Bitter Bitter Weeks’ album Peace is burning like a river:

BITTER BITTER WEEKS Peace Is Burning (High Two) cd 16.98
It’s weird. We can describe some stuff like nobody’s business, dark drones and buzzing black metal, freaky folks and found sounds, harsh noise and weirdo electronic music, but for some reason, pop  music seems the hardest to review. Which might be what makes the best pop music so timeless. It’s some ineffable something that in some ways is actually impossible to describe, the music contains  some mysterious magic, it’s what makes songs stick in your head. And your heart. Some impossible chemistry, there’s a moment when the drums and the guitars, the bass and the vocals, the voice and  the melody, just click, and suddenly, what is just a regular old rock band, and just a plain old song, is transformed into a piece of music, that stirs your soul and that can stick with you  forever, whatever is going on in your life, right at that moment, is somehow fused to the music that accompanies it. That record you loved when you broke up with the love of your life, 10 years  later it still makes you weep, that first song on the mixtape given to you by someone special, still gives you a little thrill, the first music that made you want to start your own band, the songs  that got you through the tough timesŠ there’s a reason people NEED music.
And the more music you listen to, the more you realize that the best pop music is the simplest. No amount of overdubs, or  crazy psychedelia, or far out production or instrumental prowess can disguise a mediocre record. Granted that stuff can definitely be mixed in such a way, that a record can be total ear candy, but  without the songs and the hooks, candy is all it is, sweet and fizzy and then it’s gone.
We first discovered Bitter Bitter Weeks a few years ago, aka Brian McTear, an engineer and producer from Philadelphia, and  we’re sort of kicking ourselves for only getting BBW on the list now, not sure what exactly kept us from reviewing any of those records, especially considering that the first two discs were on  constant rotation. Still are actually. That’s the problem with so many records to review and only so many hours in the day. But we’re finally trying to make it right. The first two BBW records were  mostly acoustic affairs, just McTear and an acoustic guitar, it was all about the songs and the voice, the vocals so emotive and intense, warm and familiar, a high, almost falsetto (slipping into a  full on falsetto here and there), but rich and rough, and the songsŠ so so gorgeous, perfect indie pop, hell perfect pop period, just so goddamned good, that we were convinced that McTear  HAD to be a guy from some other band that we knew, but nope, he was an engineer, and BBW was his first real project. This latest record finds McTear expanding his previously solo outing to a full  band and as hard as it is to believe, considering how much we loved those stripped down discs, it sounds even better.
The songs are still simple and spare, but manage to be lush and layered, clouds of jangle guitar, wrapped around McTear’s  gorgeous voice, the melodies lilting and perfect, subtle harmonies everywhere. The first song alone is worth the price of admission. A killer main riff, that manages to be heavy and crunchy, but  without losing any of its jangle, a cool dark smoky twang in the guitar, intricate but understated drumming, the whole song propulsive and intense, the vocals soaring and lovely, the main hook  absolutely unforgettable. This is where writing about music all falls apart, where words begin to fail to describe something that is essentially magical, not sure what else to say. Catchy, lovely,  a bit rocking, emotive, lilting, jangly, by now you probably know if this is your cup of tea or not. Listen to the first sound sample, if you’re not sold after that, then you have a black black  heart devoid of pop and we pity you! The closest comparison we can come up with is maybe My Dad Is Dead, that same sort of dour beauty, minor key melancholia, a definite nineties indie rock /  college rock jangle vibe, but at its core, just timeless and practically perfect pop.