Veckatimest: Take Me There
June 24th, 2009
I must say, I’m totally crushing on the new Grizzly Bear album right now (those not into soft and weird chamber-pop, feel free to move along). Veckatimest—still trying to figure out which syllable to stress in that one—is the third full-length from the Brooklyn-based quartet, and is about as labored and detailed as studio albums get, or at least compared to anything I’ve heard over the years. Musically, it won’t necessarily remind someone of, say, Smile, but the careful orchestration and labyrinthine song structure are certainly reminiscent of that widely influential record. The band has also been compared, ‘specially in these Cascadian parts, to Fleet Foxes, another popular chamber and folk-pop group of whom you might’ve heard. It might be more appropriate, however, to flip that comparison around, given that GB’s Yellow House was released almost two years before Fleet Foxes’ debut. Splitting hairs, probably; the point being that if you like one, chances are you’ll like the other.
.
I didn’t dive into Yellow House the way a lot of people did, so I’ll refrain from any real album-to-album comparisons (my one live experience with Grizzly Bear three years ago, strangely enough, also didn’t produce much affection on my part). But going back through to listen again I can definitely see its appeal, as well as the indicators of where the band ultimately ventured. Where that album was more expansive and atmospheric, Veckatimest seems to be more organized, focused and refined. The production is luxuriant. Even the album’s title is more particular, named for an island near Woods Hole in Massachusetts. That’s not to say that the band has “changed” their sound—they haven’t. This is Grizzly Bear, only better.
.
Like with any beguiling record, there are a handful of songs that truly stand out, and if you’ve spent any time at all listening to or reading about this one, you aren’t likely to be surprised by my picks. “Two Weeks” is the popular front running favorite, its exemplary video of the band members’ pasty, incandescent faces slowly exploding into Piccolo Pete-type fireworks. Daniel Rossen’s (also of Department of Eagles fame) jumpy, plaintive piano lights the match while Ed Droste’s classic tenor spirals into the ether (Save up all the days / A routine malaise). Harmonizing is key for this band, and they succeed at it without show or pretension. My absolute personal favorite, however, is “While You Wait For the Others”, a bouncy folk tune with a goose-bump-giving chorus (So I’ll ask you kindly / to make your way / Ooooooh!). Rossen provides lead vocals this time, deliberately strumming his reverberating hollow-body to absolute perfection.
.
“Cheerleader” is a vintage pop song that will fetch sun-drenched thoughts of easy Saturday afternoons at the beach, with a babe and a (surf) board. A celestial choir wafts through the background. “Ready, Able” has more cinematic intentions: Rossen’s guitar purposely chugs along leading the brigade, while Droste gracefully laments a lovelorn decision. What’s impressive is the turn the song takes, as warbly keys echo throughout like bitter birds and a tapestry of strings, chords, and effects gush forth. This song ably exemplifies the band’s songwriting prowess.
.
“Foreground”, the album’s most pious track, is sparsely adorned with a piano and Droste’s allegorical narration. A deep kettle drum provides a chilling backdrop. Somehow, at the very end, the band was able to complete an extremely ornate and lush offering with a simple, spartan song. Veckatimest is an actual place, but it’s also a fictional location of fantastic proportions, conceived and composed by Grizzly Bear. Lately, all I want to do is put on the headphones and travel there.
.
Please leave a Comment