Grizzly Bear is a four-piece indie pop band from Brooklyn, New York. Their music utilizes melody and ambiance in conjunction with hazy-eyed choruses, whistles, piano, banjo, and several woodwind instruments. Grizzly Bear was originally the solo project of Edward Droste (vocals/guitar), who recorded his debut album Horn Of Plenty at home. The record was originally meant for his friends, but it eventually circulated and got a proper release in 2004, this time with the help of Christopher Bear (drums/vocals). A re-release with a bonus disc of remixes was issued in 2005.
2005 also saw the addition of the two other band members, Chris Taylor (woodwinds/electronics/engineering/production) and Daniel Rossen (vocals/guitar). Playing as a four piece allowed the complexity of sound that was recorded on Horn of Plenty to be played live. The band toured throughout the year, playing songs off the first album as well as some of the new songs they were collectively writing that would make up Yellow House.
An album of Droste’s early demo recordings, Sorry for the Delay, was released in 2006. Later that year they signed to Warp to release Yellow House on September 4th, 2006, to great acclaim. In 2007, the band released Friend EP, which features outtakes, alternate versions, and covers done by CSS, Band of Horses, and Atlas Sound. In addition, members of the Dirty Projectors and Beirut collaborated with the band on “Alligator” and the EP’s hidden track. The band released their third full length, Veckatimest, on May 26th of 2009.
[ New Antiques.COM ] ~ One of the most anticipated albums of the year and possibly the album I have been itching for the most is finally in my possession: “Shields”. I adore Grizzly Bear, CANT and Department of Eagles it seems anything any member of this group dabbles in is masterful and ‘Shields’ is no exception… We all knew following up “Veckatimest” would be an incredible feat. However, there is something about ‘Shields’ which has allowed them to complete this task seemingly with ease.
The opening track [above] ‘Sleeping Ute’ is reminiscent of the past GB albums whilst adding a new ‘modern’ ambience, unique to ‘Shields’. With hints of CANT and a very ‘In Ear Park’’ kind of outbreak towards the end Sleeping Ute is the evolutionary scale of Grizzly Bear. With this modern growth to Grizzly Bear comes tracks such as “Speak In Rounds” or “Gun-Shy” which carry concepts of the “Age of Indie” and “Folk Revival Period”, in which we are trapped, to a new individual level and definition. Much like “Veckatimest”, ‘Shields’ is an album that stands out from those of other bands to which they are often compared e.g Fleet Foxes and seems to be birthed from personal inspiration.
[ Shields ]. I for one and I hate to admit it as its going to sound strange coming from me but the truth is I've never been a huge fan of the [ Grizzly Bear ] but this album takes the best bits from Yellow House & Veckatimest and refines them into something else. The album feels like an extended evolution from both previous efforts. It's just sublime from start to finish. CLOSE YOUR EYES AND GET THEM ALL.
< < < [ EDIT NOTE: Nicholas Remixes "Grizzly Bear" and "Brian Eno" ]. > > >
New York City DJ/producer Nicolas Jaar takes Brooklyn-based quartet Grizzly Bear's "Sleeping Ute" and gives it his own deep house flavor for the official remix. Part of a collaborative 12-inch vinyl Jaar released for Saturday's International Record Store Day, the reworking strips the track of its original raw sounding guitars and drums. Making use of a minimal drum beat and slowed down, echoing vocals, the remix gets a haunting vibe typical of the electronic genre. While there is no word on plans for a digital release, you can stream Jaar's revision of "Sleeping Ute" below. And for all you vinyl heads, be sure to pick up Jaar's contribution to Record Store Day, which also includes a remix of Brian Eno's "Lux," if you ever come across it.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.