After beau coup touring for the past year, including performing at Coachella, just a few days ago The Red Pears released their EP, Alicia, named after the moms of two of the band’s three members.
According to the band, “The EP wasn’t necessarily made for them but more dedicated to them. We feel like naming the EP after our mom’s names was more of a thank you to them. A thank you for always supporting us, a thank you for never giving up on us, a thank you for raising us the way they did, and for helping us be the people we are today.”
From El Monte, California, The Red Pears comprise Henry Vargas (vocals, guitar), Jose Corona (drums), and Patrick Juarez (bass). Formed in 2014, when Henry and Jose, who had known each other since high school, and played in a number of bands, got together and decided to form their own band.
Initially, a duo, their first performance took place at an open mic night at a church. Later, they added Patrick and began playing not only open mics, but bars, coffee shops, and house parties. With the release of their debut LP, We Bring Anything to the Table… Except Tables, We Can’t Bring Tables to the Table, the band attracted beau coup unanticipated attention, which keeps growing in leaps and bounds.
Encompassing five-tracks, the EP starts off with “One by One,” opening on a measured rhythm and gleaming guitars flowing into a new wave-lite-flavored alt-rock tune. “Dreams” travels on searing guitars riding crunching drums and a fat thrumming bassline. Vargas’ voice, rich and evocative, imbues the lyrics with emotional commitment. The driving flow of the melody is imaginatively innovative, yet simultaneously infectious. The stuttering rhythm of the chorus contrasts the smoother surfaces of the verses, giving the tune delicious variable textures.
“Somehow” opens on dark throbbing energy rife with retro suggestions, as Vargas’ tight slightly reedy tones inject the lyrics with intimate timbres. The jangly guitars emanate intense sonic hues. A subtle guitar-filled breakdown shifts the harmonic flow, and then segues to a cool, almost tropical climax.
“Shores” rides hints of surf rock amalgamated with nuanced garage rock, providing a dreamy wandering progression, with Vargas’ passion-filled tones imbuing the tune with urgency. The final track, “Flowers,” features sparkling guitar savors, a pulsing bassline, and finessed crisp percussion. When a deep, powerful guitar enters, the tune takes on surging energy. The juxtaposition of light and dark colors infuses the harmonics with superb divergent sonic pigments.
Alicia is both innovative and refreshing, avoiding any type of derivative essence. This is indie/alt-rock as it should be: novel, modern, and stylish.