Thursday, December 21, 2017

Albums of the Year # 5 Grizzly Bear - Painted Ruins

Written back in August:
A friend of mine, (and long term supporter of this blog), commented a few weeks ago that there hadn't really been any truly great albums released thus far this year. I'd probably agree with him up to a point, although come November I'll start my own countdown of records I've really liked this year, and there'll be at least fifty of them. But to my ears, there have been a few that have really stuck out, and near the top of the heap is the latest from Grizzly Bear,Painted Ruins (their fifth since 2004, they certainly take their time).



They're a fussy band and certainly how you relate to them will probably depend on how you react to that fussiness. Everything is definitely in its place, exactly as they want it to be before they agree to let it out into the world. A sculpted sound. The contribution of individual instruments, (a classic four-piece sound augmented by all kinds of keyboards and percussion), clearly delineated in the mix.



With songs divided between Ed Droste and Daniel Rossen though all compositions are credited to the band, they're a fine example of a group which operates on democratic principles, (having become so with time after initally starting off as Droste's project). Although Painted Ruins is not an album which will surprise anyone familiar with previous records of theirs, as it's utterly consistent with the principles laid down there, it is a refinement, and for me already my favourite of all of theirs. They're a band at their creative peak.



They have a song, midway through Painted Ruins, called Aquarian, the title of which is as good a description of their sound as any. They're The Beach Boys, after they chose to record under the waves on the ocean's bed, rather than trying to surf upon them, (of course, Dennis, was famously the only actual surfer in that band). There's also something of Steely Dan's nerdy detachment about the way they go about things though on this record they certainly allow more humanity to peak through. Also Radiohead, close admirers and friends of the band, who take similar care with their records, are another comparison point.



For me the record really makes the leap from goodness to greatness with Cut-Out and Glass Hillside, halfway through the second half of the album. Here they almost seem to have finally made their way to their own Atlantis which they've been, (knowingly or otherwise), seeking all of their career. While comparable bands like Bon Iver and Fleet Foxes have slightly over-reached themselves for me with recent releases where they seem to be trying too hard, Grizzly Bear here don't seem to be trying at all. They've entered their imperial phase.



From here on it's all a gentle run down a slight slope to the finishing line, like a Marathon athlete who's just made a conclusive break from the pack. There's even time for a first ever lead vocal for bassist Chris Taylor which slots seamlessly in with the mix. I'd also like to mention drummer and percussionist, Christopher Bear's contribution throughout. But really it's churlish to mention individuals.




Eleven tracks in all and never a foot out of place. One of the most immaculately produced albums you'll ever hear, Painted Ruins is the moment of Grizzly Bear's full arrival as truly big beasts. A  work of art!


'  Gathered together until relief arrives
Eyes on the lost sons trained in the tricks of the world
Fathers and keepers packed in that crowded room.

Upcountry drifters in permanent repose
Eyes on the lost sons trained in the tricks of the world
Strung out and restless until the feast arrives

The only ride in town
Object of all desire

This frontier town
The sound of nothing
Wasting time
There is no hiding
All is forbidden
All is forgotten'




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