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Grizzly Bear - Veckatimest
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| Slantmagazine |
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The last time audiences heard from Daniel Rossen, he was paired with fellow multi-instrumentalist Fred Nicolaus, and together as Department of Eagles they churned out the carnivalesque dreaminess that was 2008's In Ear Park, an intimate, warmed-over mélange of renaissance hallucinations and apocalyptic beauty. Now returned to the Brooklyn-based quartet Grizzly Bear, which he joined in 2005, Rossen expands and expounds on that thick, astral sound with Veckatimest, the group's third full-length album. Here Department of Eagles's mad, milkshake-like overtures persist, skirting between nightmarish explosions and otherworldly interludes. Though sometimes directionless, Veckatimest is a fascinating record, an undeniably grand opus remarkable for what it attempts rather than for what it accomplishes. The album's musical skeleton is a patchwork that borrows from the influence of folk torchbearers past and present. At once rife with the warm, well-aged harmonies of Crosby, Stills & Nash and the Beach Boys, the album manages to sponge off various bits and pieces of today's rural revival as well. Indeed, the quaint Americana-cum-baroque qualities of Fleet Foxes and Bon Iver churn beneath the foreboding "Ready" and "Fine for Now," both simmering, sprawling pieces more akin to mazes than songs. Melodies are lush curtains through which human voices barely poke, obscured by splashes of organ, brass, and dozens of other arcane instrument combinations. All lend their aid to the album's organic splendor, a quality in which Rossen and his Grizzly Bear colleagues are clearly infatuated. Yet that obsession is also finely tempered, and patient enough to allow tracks like "Cheerleader" and "Two Weeks" to build from a humble guitar n' piano origin into reverberating ecstasy....full text |
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| Uncut |
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One day in 2006, a fat package arrived at my door, from the techno label Warp. Ten CDs: a whole lotta techno. Ever listened to nine techno albums consecutively? “This has been a character-building afternoon,” I thought, slipping the tenth CD (Yellow House by someone called Grizzly Bear) into the machine. Then, amazingly, out poured flutes, banjos, church-y pianos from Little House On The Prairie, haiku-like lyrics about rooms with frozen pipes, and heavenly vocal harmonies. The ghosts of Smile and Music From Big Pink wandered close at hand. This was a masterpiece. Warp’s anomaly turned out to be a precociously talented Brooklyn four-piece, whose mysterious folk-pop-chorale hybrids can sometimes sound like they’re reconfiguring 150 years of Americana at the drop of a hat. With three ex-music students in the lineup, Grizzly Bear are both versatile and punctilious. Bassist Chris Taylor, for example, plays a lot of woodwind and keyboard instruments, while drummer Chris Bear has the precise technique of a trained percussionist. Grizzly Bear’s admirers – a growing army – include Radiohead (with whom they’ve toured), Paul Simon [see Q&A] and Fleet Foxes’ Robin Pecknold, who has already called Veckatimest the album of the decade. A 12-song set lasting 53 minutes, Veckatimest has a different atmosphere to Yellow House. Grizzly Bear have made a big virtue of its dynamic range –the fourth track, “Fine For Now”, climaxes in a violent ensemble shit-storm, which would never have happened on Yellow House – and they’ve spoken of its increased sonic clarity. True, we hear not only the words and instruments, but even the click of Daniel Rossen’s tongue on the roof of his mouth as he sings the word “gone”. Yellow House felt like it took place entirely indoors. It was hushed, dusty and you could imagine creaking floorboards. Veckatimest is an outdoor record. Part of it was made on Cape Cod (a peninsula linked by bridges to mainland Massachusetts), and the album is within sight of blue water from the moment Rossen sings its opening line (“A haven on the southern point is calling us”) over a gently rolling groove. The song flickers with subliminal images....full text |
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| Prettymuchamazing |
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Music fans today often toe the line between fans and junkies, looking for the stickiest bass, the speediest beat, the hottest new thing to hit the streets. We search for the next bump, the next hit, the next thing we can inject into our ears to make us feel so good. Thing is – and here’s the rub – music isn’t really meant to be treated like that. Sure, our remix culture is trying to turn it into something that’s good for a quick high and bad for lasting relationships, but that’s not the way music’s supposed to be. Music is supposed to be enjoyed like wine. Rolled around on the tongue, sipped, savored. Shared with good friends. Aged in the dark for years and then revisited for special occasions when you feel like treating yourself....full text |
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Grizzly Bear lyrics