| | Grizzly Bear Horn Of Plenty CD Grizzly Bear Discography of CDs
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Grizzly Bear's debut offers up a lysergic brand of minimalist psychedelic folk perfect for those who find Elliott Smith's early work a bit too accessible and upbeat. Marking an evolution from one-man home recording project to full-fledged quartet, the studio-recorded Horn of Plenty features a mostly melancholy mix of acoustic guitars, reeds, retro organs, and samples, all drenched in enough acid-washed effects to give Devendra Banhart flashbacks. Frontman Ed Droste's weary, somnambulistic vocals work well with the slackadaisical melodies to create an unsettling atmospheric sound full of shimmering shadows. Songs like the opening "Deep Sea Diver" and the mesmerizing "Shift" crawl along at an almost funereal pace, the latter featuring what sounds like a scratchy Gramophone recording of a piano augmented only by echoing whistles, clapping, trippy found sounds, and weirdly hypnotic multi-tracked vocals. The expanded lineup and production budget have done nothing to change the group's lo-fi approach, which produces a murky sound that unfolds like a narcotic dream you can't quite shake upon waking. This is the kind of album you'll want to listen to late at night, perhaps a few sheets to the wind, with lights off and headphones on to allow these creepy, quiet little tunes to worm their way into your subconscious. ~ Bret Love Grizzly Bear is romantic, emotional, dreamy and sincere. It combines the quirkiness of Animal Collective in the form of a Syd Barrett solo project. Ed Droste started Grizzly Bear music as a pet project meant only for friends, but it has taken on a life of its own, circulating widely. During a long fifteen-month hibernation in his cozy Greenpoint apartment, Droste laid the groundwork for Grizzly Bear's first album, Horn of Plenty. Upon completion of this "demo," Droste enlisted the help of a real bear, Christopher Bear, who breathed new life and sounds to the work. The result, Horn of Plenty, is a nostalgic amalgamation of found sounds and layered vocals bound to thrill fans of Sufjan Stevens, Nick Drake, Animal Collective, and the Unicorns. With their debut album out now on Kanine Records, Grizzly Bear has been spreading their gospel as a live act with the addition of Chris Taylor, playing reeds and electronics, and Dan Rossen, adding more vocals and guitar, to the group. With three voices, guitar, clarinet, percussion, and colorful effects, Grizzly Bear's live sound maintains the dreamy, subdued qualities of "Horn of Plenty", yet explores a more electric and psychedelic path, leading to a dynamic and mesmerizing concert experience.Rolling Stone (No. 988, p.127) - 3 out of 5 stars - "...[T]he pure atmospheric power of the songs is more than enough to hypnotize...."
Uncut (p.94) - 4 stars out of 5 -- "[A] strikingly accomplished debut, its dovetailing of alt.folk and chamber-pop with found sounds and glitchy effects going far beyond the limits of 'folktronica'."
The Wire (p.58) - "HORN OF PLENTY is acoustic music willing and able to efface its own identity, to transform and transmute itself ad infinitum."
Mojo (Publisher) (p.94) - 3 stars out of 5 -- "[A] pillow-soft tapestry of guitar, woodwind, glockenspiel, percussion and mantra-like vocal harmonies, glazed with FX and found sounds." Grizzly Bear Horn Of Plenty Songs | 1. | Deep Sea Diver | |
| 2. | Don't Ask | |
| 3. | Alligator | |
| 4. | Campfire | |
| 5. | Shift | |
| 6. | Disappearing Act | |
| 7. | Fix It | |
| 8. | Merge | |
| 9. | Good Place, A | |
| 10. | Showcase | |
| 11. | La Duchess Anne | |
| 12. | Eavesdropping | |
| 13. | Service Bell | |
| 14. | This Song | |
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Horn Of Plenty Review
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Ustad Shaukat Hussain (tabla); Trilok Gurtu (percussion); The Hilliard Ensemble.
Recorded between 1974 & 1995. Includes liner notes by Jan Garbarek.
Jan Garbarek is the quintessential ECM artiste -- adventurous; disdainful of categories; in possession of a wailing tone well-suited to producer Manfred Eicher's reverberant, airy sonic tastes; and a devotee of the school of wide open spaces without clutter. The latter two points are important, for they unify what might otherwise be a wildly scattered collection of shooting asteroids into a single orbit. Giving all of this eclecticism some general shape, disc one of Garbarek's Rarum volume deals with his sessions as a leader, often with the ethereal mood in play, while the second disc is devoted to the Norwegian saxophonist's collaborations with his celebrated friends from Europe and America over a 22-year span. The first disc has a carefully terraced sense of flow from start to finish, with the opening horn calls of "Skrik & Hyl" and "Viddene" sounding as if they came from high on a mountaintop, with bass, then guitar, then pipe organ as backdrops. With "Lillekort," things get moving in a light Brazilian bag with Nana Vasconcelos providing the groove and the nicely striding "It's OK to Listen to the Gray Voice." The set then veers into some ethereal solo tracks, where Garbarek works with tapes of himself on excerpts from the albums All Those Born With Wings and Legend of the Seven Dreams and reaches a peak of energy on the penultimate track, the title tune of the Twelve Moons album. Within this overall context, the lengthy "Raga I," with a host of Indian musicians, seems not at all out of place, nor is Shankar's playful "Song for Everyone" on disc two. Paying homage where homage is due, four of the first five tracks of disc two are some of Garbarek's collaborations with Keith Jarrett in the '70s -- ranging from the esoteric (the lugubriously orchestrated "Windsong" from Luminessence) to some snapshots of the Jarrett European quartet that put Garbarek on the map. Interestingly, in Jarrett's Rarum volume, the pianist writes that he would have liked to have included "Sunshine Song" (from Nude Ants) and a track from Luminessence on his own collection. What he doesn't say is that they turned up on Garbarek's album instead. A coincidence of telepathic tastes -- or concealed collusion? Aside from the European ...
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