Grizzly Bear - Veckatimest
A record that retains its nuggets of sunshiney pop while concocting a tense and threatening edge that creaks through.
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Big hype, a sound influenced by classic American alternative music and featuring devastating four-part harmonies, you might forgive Grizzly Bear for being somewhat peeved at the success of Seattle's new finest, Fleet Foxes. Except they probably wouldn't care because they seem like such nice guys. Perhaps conscious of the timing of the release the band have moved on from the more pastoral and outdoorsy sound of 'Yellow House' to create something more inward looking and enigmatic. 'Veckatimest' is a record that retains its nuggets of sunshiney pop while concocting a tense and threatening edge that creaks through.
Once again the band manage to cram each moment of their music with an incredible amount of influences with an ease that baffles. From the scurrying acoustics and sudden bursts of toms that mark out 'Southern Point', the album is characterised by intricate intelligent arrangements. Beneath the gorgeous choral four-part harmonies lies a creeping paranoia that pricks at the album's poppier moments; never is this more apparent than on 'All We Ask', which sounds like it was recorded in some kind of run-down haunted house. And as the band sing "I can't get out of/what I'm into with you" in unison, 'Veckatimest' starts to sink further under your skin.
'Two Weeks' is an undiminished highlight and a contender for indie pop single of the year. Atop bouncing organ and yet more phenomenal vocal interplay, Ed Droste's blue-eyed croon swings seamlessly from the bottom of his register to the top. 'Ready Able' finds Droste on top form once more as keyboards whirl and shimmer. Daniel Rossen contributes the equally wonderful 'While You Wait For The Others' but it is the tracks fronted by the band's founding member that are less likely to meander and lull and more likely to leave your jaw ajar.
As you would expect, a record of such depth takes a number of listens to reveal its hidden layers but it seems to lack the instant illumination provided on 'Yellow House', and only hits kaleidoscopic heights on occasion. However there is a darkness that has the pastoral splendour of the previous record, and the Bowie-esque sax of 'I Live With You' and stately elegance of closing track 'Foreground' prove that Grizzly Bear are equally adept when brooding and introspective.
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