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| Grizzly Bear - Veckatimest |
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| Written by Julia Reidy | |
 Grizzly BearVeckatimest [Warp] Get It at Amazon  It takes a long time to get submerged in a Grizzly Bear record. The band name itself deceives. No reckless, territorial aggression to be found here – no claws – only beauty and calculation, careful diction and studiedly released energy. The first few listens always reveal, to me at least, only the textures used and not the content. The reedy, blended treble they favor sounds like some ensemble of minstrels dancing atop an intermittently used giant bass drum. (Idea for a video, maybe?) When I’ve only gotten my feet wet, the immediacy of Grizzly Bear records doesn’t feel as apparent to me as it must to those who always gush about them. But then something happens. On the 15th-ish listen, suddenly I’ve plunged under and all the waves of brilliance start rushing past. Veckatimest, of their work so far, is all but a tsunami. (To be fair, listening on cranked-up headphones helps, too.) Packing the punch possibly lacking in the gorgeous Yellow House and the eclectic Friend EP while still just as pretty, Veckatimest exhibits loudly the Brooklyn quartet’s abilities with theme exploration and the manipulation of audience tension. Lead-off track “Southern Point” seems a microcosm of this with its backing strings and barreling chorus, alternately gentle and jarring. Each track develops a melody or two and repeats, changing a bit each time, and often sprouts into a large, thrilling B-section or coda at the end. (Come to think of it, Grizzly Bear is exactly why you should never judge a song on its first few seconds.) They’re no less exciting for their predictability, mostly because the band ornaments absolutely everything. It sounds like they’d hang Christmas baubles on the pointy parts of their songs if they could. Take, for example, the ostensible stand-out “Two Weeks.” As catchy as the group gets, the song just repeats the bouncy keyboard melody and soaring vocal backing (featuring Beach House’s Victoria Legrand) over and over. Here’s the thing, though: the arrangement is different absolutely every time the theme reprises. It’s the final touch that makes the song not just something hipsters can dance to, but a powerhouse composition in its own right. Same goes for “All We Ask” and “While You Wait For The Others.” Sure, they’re transcendent pop songs, but they’re effing fascinating, too! Which brings me to my final thought on Grizzly Bear. Their classification as “chamber pop” or “orch-pop” (I like the latter because for some reason I think of it as standing for “orca” rather than “orchestral”—who wouldn’t want to think of a group as a killer whale of a band?) has always puzzled me. Sure, they use non-traditional rock instruments on their albums (…not to mention the Brooklyn Youth Choir), but so do a lot of people. Live, it’s just a four-piece guitar band, and they still pull off every emotion found on their albums. I feel like putting them in such a…wussy…category makes light of the experimental – and rockin’ – nature of their music. Believe me: Veckatimest is worth diving into. |
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