GRIZZLY BEAR: GENTLE GIANT
By Team JamBase Jun 5, 2007 • 12:00 am PDT

Words By: Chris Pacifico
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With their sophomore release, Yellow House (released 9/5/06 on Warp Records), Grizzly Bear earned slots on many a journalists’ 2006 Top Ten lists including that of The New York Times. Yellow House makes it tricky to determine whether Grizzly Bear had undergone a phase of evolution or rebirth. On one hand, there’s the addition of new members Daniel Rossen, Chris Taylor (who also produced it) and Christopher Bear, who delicately ornamented the final mix on Horn of Plenty. On the other hand, the sound and aesthetic of Yellow House took a significant step forward both instrumentally and harmonically with most of the Brooklyn quartet’s seasoned fans still able to tell it’s a Grizzly Bear album. “We kind of think of this as our first album since it was the four of us making it,” says Taylor.
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The arrangements are skeletal to the naked ear yet the tracks manage to perch on a cloud that coasts over breezy, elastic baroque pop tundra’s with lush orchestral ambience opulent enough to snag a Tony Award nomination. The four-part augmented harmonies led by Droste and Taylor sprawl effervescently. Yellow House has moments that sound like the greatest album Brian Wilson never penned for the Beach Boys while lying in his sandbox in the midst of a narcotic miasma.
“Knife” is tantamount to a number that Roy Orbison would’ve cut at Sun Studios had he discovered mushrooms during the 50’s. Grizzly Bear’s instrumental druthers and melodies are similar to early Syd Barrett era Pink Floyd tracks containing semblances of lullaby deliverances and kooky modulations.
Another standout is “Marla,” a shimmering, icy waltz that serenades with a twinkling, half buried mist of chamber piano. Droste’s great aunt Marla Forbes originally wrote the song and Rossen rearranged it and let the band sink their teeth into it. “It was a great song and we all had to kind of get in there and do something to it,” recalls Taylor.
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Taylor doesn’t see it so much as evolution or rebirth but instead credits the new album’s dynamic to the merging of individual member’s musical pallets and instrumental guile, as well as sharing the songwriting duties.
“Yellow House is an album with all four of us working together so there is a lot more people’s musical backgrounds coming into it and everybody is a multi-instrumentalist to some degree. Where the first album was written by one person – and it sounds like it – we originally worried that this album wouldn’t be cohesive enough because things were coming from so many different places compositionally,” Taylor comments. “Also, when we listened to how the songs sounded we asked ourselves what kind of record were we making and we really didn’t know. So, it was sort of stressful”.
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After being hand picked by TV On The Radio for the opening slot on their Fall tour and another high profile opening gig with Feist coming up, life, in terms of critical and fan reception, is good for Grizzly Bear. Just don’t ask them to sum up what kind of music they play. Holding back laughter, Bear retorts, “That’s one of the hardest questions that you could ever ask and I still think that I don’t have an answer.”
GRIZZLY BEAR TOUR DATES
06.08 | Northampton, MA Calvin Theater (Supporting FEIST)
06.09 | Boston, MA Berklee Performance Center (Supporting FEIST)
06.13 | Washington D.C., DC 9:30 Club (Supporting FEIST)
06.14 | Greensboro, NC Carolina Theater (Supporting FEIST)
06.15 | Atlanta, GA Variety Playhouse (Supporting FEIST)
06.20 | Minneapolis, MN Pantages Theater (Supporting FEIST)
06.22 | Boulder, CO Boulder Theater (Supporting FEIST)
06.24 | Seattle, WA Moore Theater (Supporting FEIST)
06.25 | Portland, OR TBA (Supporting FEIST)
06.27 | San Francisco, CA The Fillmore (Supporting FEIST)
06.29 | Los Angeles, CA The Wiltern (Supporting FEIST)
06.30 | Solana Beach, CA Belly Up (Supporting FEIST)
07.07 | Roskilde, Denmark Roskilde Festival
07.14 | Chicago, IL Pitchfork Music Festival
07.16 | New York City, NY Summerstage (supporting The Decemberists)
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