It wouldn’t be an exaggeration to say that Polar Bear have been one of my favourite bands over the last decade, since they first came to my attention as the ‘token jazz nominee’ in the 2005 Mercury Music Prize for Held On the Tips Of Fingers. I feel like I’ve talked about them a lot at record club but never played them – although I did play their (now defunct) rambunctious sister-group Acoustic Ladyland once upon a time.
Polar Bear have been notable for their constant evolution between – and sometimes within – records, but last year’s In Each And Every One pushed them in quite radical, and at times unrecognisable directions; it sounded like the work of a completely different band to their previous record, Peepers (to be fair, there had been a 4-year gap).
Somehow, Same As You manages to do the same again, and sees them broaching even more new ground. Mixed in the Mojave desert, Same As You appears at first glance and from a distance to be sparse, arid even, but upon closer inspection reveals huge detail and perpetual, subtle movement. Where its predecessor occasionally obsessed over the gloomy end of the emotional spectrum, its minimalism occasionally burst by skronking intensity, Same As You is quietly positivist and relaxed, its sunny, love-fuelled intent laid out in a spoken-word introduction about “life, love, and light”.
The key components of the album are Seb Rochford’s polyrhythmic drumming and Tom Herbert’s almost dub-y stand-up bass playing; they form a low-key, constantly shifting bedrock for tenor sax and electronics to subtly explore. Nowhere is this clearer than the 20-minute rumination of “Unrelenting Unconditional”, where Herbert’s nimble fingers are the absolute driving force for most of the running time. Solos exist, but they paint in the margins most of the time, and never seem to be overtly seeking attention.
After the spoken-word intro, “We Feel The Echoes” sets the tone for the album by almost completely disintegrating after four minutes. The tune slowly re-emerges, but it’s so low-key as to almost seem apologetic for being music; and yet it’s beautiful.
If Kamasi Washington’s The Epic is probably the biggest (in every sense) jazz album of the year – an acclaimed, hip-hop circling crossover success that lasts for THREE HOURS and celebrates an entire history of American jazz – then Same As You is almost its opposite: where The Epic is grand, flamboyant, searching and, well, epic, Same As You is quiet, humble, and contented, even as it explores new spaces and sounds. I like The Epic a lot, but through admiration and awe by and large; I love Same As You in a very different and much more personal way.
Rob listened: I loved this. I didn’t get sparse or arid vibes from it as Nick suggests. Instead, in its spaces and absences and digressions ‘Same As You’ seemed intimate adn human. From the grain of the voice that opens the record, you can hear the movement and concentration and the fingerprints of the people who made this music, in each pawed bass string, each brushed snare drum and each pushed sax key. We heard this straight after Grouper, another artist unafraid to remove herself from the foreground and let the world around her and the world in the listener’s head fill the spaces. I got the warmth that Nick describes, but not from sunny sounds, rather from the feeling of being in the company of good people making beautiful music.
Tom listened: This was a strange listen to me, a bit like one of my victoria sponge cakes, it was delicious all the way round but sagged a bit in the middle. So I was immediately hooked by the voice and atmosphere of the spoken word opener which led into the equally fine We Feel The Echoes. From there I don’t recall much until the gargantuan last track which lasted for twenty minutes and at no point felt too long! So, whilst I didn’t unequivocally fall for all the tracks on Same As You, I very much enjoyed at least 35 minutes of it!
Devon Record Club 
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