One guy plays a blue bass, one plays a black bass, the third plays the drums and two-thirds of Shellac were at the helms of the recording and mastering of this album.
A commendably long and slow build of half-melody introduces this album and is cut off by the aptly-titled "Short but Sweet." Although it tends more to the short than sweet. It's a racing and stuttering and thundering minute and three quarters. With a two-bass set-up you might expect H-E-A-V-Y and P-L-O-D-D-I-N-G but Bear Claw avoid the stereotype. They take advantage of the virtues of their instrumentation—a lot of driving, intricate basslines—without getting mired under an onslaught of low notes. In fact, they make good use of the upper ranges of the bass guitar, so that often a legato baritone line counterpoints a staccato bass line.
Like fellow Chicagoans Arks and The Conformists, Bear Claw are finding new things to do with the old hardcore post-punk formula, and for that we give thanks and praise.