Bearcubs is a name indie-electronic fans will want to remember. The Berlin-based artist has been steadily growing his discography, beginning with his 2018 debut Ultraviolet. Last year, he took a break from his solo work to score the film Relativity, which went on to pick up a handful of German Film Critics Awards. Now, Bearcubs is back to his solo ventures with his sophomore LP.
Early Hours touches many genres while maintaining a thoroughly unique and personal sound. Bearcubs’ explorations into different styles are held together by celestial synthwork that runs through the duration of LP. From the steel drums of “Overthinking” to the upbeat percussion of “Même Langue,” a steady, summery, and relaxed tone runs through Early Hours from core to perimeter. Bearcubs took some time to tell Dancing Astronaut about the progression of his career, his latest LP, and the differences he’s experienced between scoring a film and building out his own personal catalog.
How did you approach Early Hours differently than your first LP, Ultraviolet? What did you learn from Ultraviolet that you carried into your newest project?
“With Ultraviolet it was more about releasing a larger body of music, so that people could get a gist of what I was about. I had only released singles of varying styles and a couple of EPs before, so I wanted something that said, ‘this is what I’m about.’ Early Hours was a bit different because I had more of a concept in mind once the album started coming together. I did learn a lot from making Ultraviolet, mainly that I should keep things simpler, more direct and the tracks on the next album should feel closer to each other, stylistically and thematically. I also had the realization that some of the music I was making wasn’t ...
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