Grizzly Bear

  • Home
  • News
  • Live Dates
  • Music
  • Video
  • Store
  • Links
  • About
  • Blog
  • Press
  • Contact

Archives

  • August 2010
  • July 2010
  • March 2010
  • February 2010
  • December 2009
  • September 2009
  • August 2009
  • May 2009
  • March 2009
  • January 2009
  • December 2008
  • November 2008
  • October 2008
  • August 2008
  • July 2008
  • June 2008
  • May 2008
  • December 2007
  • November 2007
  • September 2007
  • August 2007
  • June 2007
  • May 2007
  • March 2007
  • February 2007
  • December 2006
  • November 2006
  • October 2006
  • September 2006
  • August 2006
  • July 2006
  • June 2006
  • May 2006

Tuesday, September 5th, 2006

More from Europe

No Comments »

Let me start off by saying I’m eating some ketchup chips, and they are, surprisingly, not that bad.

Sadly I’ve been lax on the picture front. These are Guzy’s snapshots of this mini-tour we are on. I’m afraid he has none from the Rough Trade conference in Dortmund, which was like a wedding tent. Only men, and none from what I would call one of our most memorable concerts, at Lido in Berlin. Why so memorable, you ask? Well aside from the fact that it took four hours to sound check because of a blown-out speaker that couldn’t be replaced (we thusly had to use just 75% of the system, which was imbalanced highs to the right hand side of the venue), within one minute of our set, our power step down converter came loose and we lost power! I was mortified. Luckily all it takes it just a quick replugging and all is swell. But wait, it seems right as this happened, T also broke a bass string, which is a nightmare to change. Dan and I were suddenly left having to entertain the audience while T ran off stage to fix his string. A few weeks earlier, in a semi drunken late night moment, Dan and I sort of worked out a cover of my favorite band ever (whom I already blogged about)–Hot Chip’s “Boy From School.” There were forgotten lyrics and a bit of confusion, but all in all people really liked it. Berlin was a very sweet crowd. So then suddenly we were back up and going, and within thirty seconds of starting again, the coverter went off again!!!!! MORTIFIED.

We triple duct taped it, and all went on smoothly. Just a strange way to start the set. Lucky for us the crowd was great and really loving it. Phew!

Ok, on to pictures. The guys at Rough Trade Belgium are the nicest people ever. They had a full day of promo and a nice lunch lined up; everything ran extra smoothly in Brussels. Here’s the lobby of their building, which is really the Sony BMG building in which they have a small office on the ground floor. This is us doing some interview; I’m not sure with whom. We managed to grab some JT “SexyBack” stuff from the major label honchos in Belgium, which I WOULD post, but the last time I posted a jam (Nelly Furtado), it fucked our bandiwidth and server, so now I have to post things that 95% of the world doesn’t want to download. So with that, how about my new favorite song ever “Young Folks,” by Peter Bjorn and John, which I already guest-blogged about at IGIF.

Peter Bjork and John – Young Folks

This song rules me and shall rule you. The whole band is in agreement that is rules. Let the ruling begin.

This is also Brussels. We did an acoustic session for national radio Studio Brussels.

This is from our show with Radiohead. PSYCH! Just kidding, but wouldn’t that be fun? Our manager Guzy is obsessed with Radiohead and Thom Yorke, and since these are all his pictures, I suppose I should include just one of his thirty pictures from the Radiohead concert he saw in Paris (he then went the next day to Amsterdam to see him again).

Guzy says someday we’ll be as big as Radiohead. Then he laughs in our faces. Sigh. Here’s a Radiohead song–but which to choose? Let’s let Guzy pick it. Guzy’s favorite Radiohead song is . . .

Radiohead – How I Made My Millions

Our concert in Brussels was a free concert in a park, and we played on a gazebo to about 1,000 people, which was really exciting. The sound was great, the food was amazing, the spirits ever-flowing. A good time. From behind.

From the front.

This is Fat Cat artist Tom Brosseau, who opened for us and is also playing with us again in Paris and Brighton. He’s wonderful. Here’s a great track of his.

Tom Brosseau – How to Grow a Woman from the Ground

And with Belgium comes Nessie. And with Nessie comes joy and bliss. Us on the gazebo.

And last but not least, here are two wild girls. The one on the left is the sister of TOURRRR Amelia!!! Amelia rules and is doing a design for our new tote bag merch item. Yes, that’s right. We are branching out in the last of merch to totes. Please, simmer down; I know you can’t believe how exciting this is. Amelia’s sister is equally sesh, and she was in Brussels and came to the show. Helloooo, Eleanor!

And standing to Eleanor’s left (your right) is Caz, our lovely sound girl, who is asleep right next to me now in the van as we steadily plow through rural France and face various areas that smell like either horse or pig shit.

I’d like to end this post with this picture of Bear and Dan just relaxing. We haven’t had much time to relax, but we will soon, once we get home on the 10th of September. I think we’ll all fall into a deep sleep for two weeks and re-emerge for our Bowery show. Then we trek across the States with TV on the Radio. I have some more pictures of Amsterdam’s photoshoot and a day about town for posting in the next couple days. Until then.

x

About Grizzly Bear

Grizzly Bear released Yellow House in 2006. It was a slow, steady and stunning ride—boundless in scope and elegance. Given the album's otherworldly charm and staying power, it's hard to believe three years have gone by.

That might seem like a long time. But given Grizzly Bear's hectic touring schedule, including stints with Radiohead, TV On The Radio and Feist—as well as several performances during a five-night tribute to Paul Simon at the Brooklyn Academy of Music, a co-headlining show with the L.A. Philharmonic, and the release of Friend, a 10-song EP of re-recorded and re-worked songs, collaborations and covers—all of this seems very reasonable. They've been busy.

But about a year ago, singer/songwriter Ed Droste, drummer Christopher Bear, bassist Chris Taylor and singer/songwriter/guitarist Daniel Rossen —whose other band, Department of Eagles, released the sublime In Ear Park last fall—began passing demos around and working together creatively in different pairs and permutations. A few months later, blessed with producer/engineer Chris Taylor's willingness to transport his recording equipment, they began the recording process for Veckatimest, which would unfold over the next six months in three very singular locations. And in many ways, it is the recording process that reveals this record—each space catalyzing different interactions, inspirations, and ultimately, songs.

In July, the band spent three weeks at the Glen Tonche house in upstate New York. The beauty, mystery and surrealistic feel to the estate made anything seem do-able, possible and even magical. Though still finding their feet, much of the album's groundwork was laid there. After breaking briefly for the Radiohead tour in August, the band convened at a house on Cape Cod (graciously provided by Droste's grandmother) where they re-addressed and solidified the compositions they'd started at Glen Tonche. Lastly, Grizzly Bear came home, to a church in NYC, to fine-tune and complete the album—named Veckatimest, after a tiny, uninhabited island on Cape Cod that the band visited and was inspired by, particularly liking its Native American name. Following initial mixes by Chris Taylor, the band brought Gareth Jones (Interpol, Liars) over from England for a final mixing session with Taylor. The album was then mastered by Greg Calbi. Artist William O'Brien created Veckatimest's colorful, hand drawn artwork—a perfect compliment to the album's enigmatic title.

There is an unbelievable clarity of sound and vision to Veckatimest: vocals (a duty now shared by all band members) are sharper and more complex, arrangements are tighter, production is more venturous and lyrics more affecting. Having opened the creative dialogue at such an early stage, Grizzly Bear was able to realize these 12 songs together as a band, making it their most collaboratively compositional album to date. Taylor's artistry as a producer and engineer has only gotten stronger, both Rossen and Droste's conviction as singers and lyricists has swelled, and Bear's authority behind the drums is striking.

This yielded an unexpected mix of material that feels more confidant, mature, focused—and most of all, dynamic. From songs like "Dory" (a gracefully psychedelic, ever-evolving work),"Ready, Able" (a synth-y opus, and one of four songs that boasts string arrangements by composer Nico Muhly) and "Foreground" (a plaintive, vocal-driven send-off, and one of two songs to feature choral arrangements also by Muhly) to more resounding pop songs like "Two Weeks" (an other-worldly doo wop featuring backing vocals from Beach House's Victoria LeGrand) and "While You Wait For the Others" (a triumphant and melodically cacophonous pop masterpiece), Veckatimest is an album of the highest highs and lowest lows—an unbelievably diverse collection of songs that celebrates the strength of each band member, and the power of the whole. It was well worth the wait.

Photos of Grizzly Bear

  • Press photo of Grizzly Bear Dwnld hi-res JPG ↓
  • Press photo of Grizzly Bear Dwnld hi-res JPG ↓
  • Press photo of Grizzly Bear Dwnld hi-res JPG ↓
Photos by Tom Hines.
Art by William O'Brien. Photos by Tom Hines.