Posts Tagged ‘Grouper’

h1

New Grouper: "Hold"

August 10, 2010

Grouper - "Hold"/"Sick"

New Grouper single “Hold”/”Sick” coming out October 6. Sounds like a great way to kick off the spookiest month of the year. You can stream the track “Hold” now, which is haunting and subtle, what Liz Harris does best.

Via Pitchfork.

Advertisements
h1

Best New Music: Q1 in Review

April 9, 2010

We’ve finally entered Q2 of 2010, so I thought I’d revisit some of the best music I’ve heard this year so far.

•••

Beach House put out the best record of the year so far, Teen Dream. What we at Radio Cure call “beach pop” has been surging in popularity within the past year and a half and it all came down to Beach House’s third album release. It’s a doozie, romantic pop perfection. Buy it or may God have mercy on your soul.

•••

Another one of the best beach pop releases of the year is the Something in the Way single by Best Coast. It’s a magical, pristine pop song that harkens back to ’60s rockabilly. Best Coast hasn’t released a full album quite yet, but they’ve been making huge splashes on the blogosphere with their great one-off songs, so definitely check them out.

•••

Apparently even major label pop music is jumping on the beach pop bandwagon; Gorillaz recently released their oceanic third album Plastic Beach. It delivers in much the same way that their previous albums have, churning many great hip hop and rock tunes with a guest list nothing short of incredible. Damon Albarn and company continue to prove that major label acts can still deliver truly vital albums.

•••

Grouper and Roy Montgomery put out a Split EP on the first day of the year that rivals other releases this year in terms of inventiveness. On Roy Montgomery’s side, epic, ambient middle-eastern guitar strumming. On Grouper’s side, wistful, understated melodies. Both are gorgeous.

•••

Four Tet put out the stellar There Is Love in You in January, maybe the best electronic album since Flying Lotus’ Los Angeles. It’s minimal techno at its biggest and most physical, influenced by Hebden’s work with Burial. Hebden still has a way with organic sound and makes another dazzling album to fascinate until the next one.

•••

The Knife along with Mt. Sims and Planningtorock put together the sprawling, progressive Tomorrow, in a Year, the opera based on the life of Charles Darwin as well as the history of the earth. It is difficult, abrasive and also incredibly beautiful and brilliant. If you’re up for a challenge, give it a listen.

•••

Finally, Gil Scott-Heron released I’m New Here, his first new album in fifteen years, on XL. It’s unlike anything I’ve heard before, a moving mix of Scott-Heron’s strong vocals, post-industrial production, spoken word and awesome cover songs. If you are into poetry or want an eclectic set of tracks, this is a must-have.

What have YOU been listening to?

h1

Off This Century – My Favorite Albums of 2000-2009

December 25, 2009
h1

Grouper / City Center – Split 7": False Horizon / This is How We See in the Dark

March 13, 2009

Grouper / City Center - Split 7

Grouper / City Center - Split 7"

In 2007, ambient/drone artist Liz Harris, otherwise known as Grouper, released a split LP with fellow West Coast experimental drone artist Eva Saelens, otherwise known as Inca Ore. At the time, the two artists were contemporaries in every way, coming from the same general geographical area as solo artists, both crafting eerie dark ambient music and having had a few albums under their belts. Grouper gave a taste of the succulent melodicism that was to come in full force on her subsequent album Dragging a Dead Deer Up a Hill, and Inca Ore provided ambient noise soundscapes that wouldn’t sound out of place on the soundtrack of a horror film.

In the end the scales tipped toward Grouper, the reason being that Inca Ore’s material really only catered to fans of noise and the most difficult of dark ambient, and the songs Grouper provided were the most advanced as well as accessible of any other work she had yet done. With that said, the progression of Grouper’s catalogue is very traceable. Starting with the impenetrable dark ambient of her debut album, Way Their Crept, through the slightly more experimental but still drone heavy Wide, then to the subtly melodic Cover The Windows and the Walls, then the aforementioned bittersweet melodies on the Split LP,  and up to the sublimely melodic Dragging a Dead Deer Up a Hill; Harris’ output has always moved closer and closer to flat out folk music, and her contribution to this split single, “False Horizon,” is finally the pinnacle of that progression.

The song pulses with lightly strummed guitars that are no longer completely submerged but only knee deep in liquidic reverberation. The only melodic tools used here are a single acoustic guitar and several layers of harmonized vocals. It is the barest Harris has ever left herself or any of her music, no longer a claustrophobic cacophony that we heard on Way Their Crept and Wide, as engaging as they were. As usual, the vocals here are only partially intelligible. We can almost be sure that Harris sings “where bodies float down,” at some point, but it is hard to tell, and this sense of mystery has served her well before, but never quite in such an accessible context. In effect, this is Liz Harris relying solely on her songwriting ability, which we can say with great certainty now is excellent. The result is a dark, addictive, intriguing single that is very tangible, what was hinted at on Dragging a Dead Deer Up a Hill, which never quite reached the bare bones nature of “False Horizon.”

The other single here, “This is How We See in the Dark” by newcomers City Center, is also significant. The band, a duo of Brooklyn natives Ryan Howard and Fred Thomas, make experimental folk music in the same way as Grouper, but with a more eclectic sonic palette. This is mostly to their advantage, and many of their songs are sonically standout as well as charmingly melodic, but they don’t have the sticking power that Grouper’s music does. But if they have more songs like “This is How We See in the Dark” in store, then they are a band that we would be best to trace the progress of. The song sounds a bit like a warped carnival song, but with more melancholy than creepiness. In a few instances, the group’s experimental sound encroaches on the body of the song, but not without purpose. The hazy, contorted melody is about as memorable as “False Horizon,” and in the end both songs are good.

Although both sides of this single are quality songs, “False Horizon” really steals the show here, the reason being that Liz Harris commands attention with every release she makes and is by this time a reliable guru of her craft. The quality of her music has increased on an exponential curve, and she shows no sign of slowing down. With all due respect to City Center, this is really Grouper’s triumph. The release’s biggest problem is undoubtedly availability. The single is limited to self-released limited edition appropriately colored “dirty water gray” vinyl only, which is now out of stock, so acquiring these songs means either doing it illegally or hunting down and shelling out a high price for the vinyl, which is frustrating. But until the day when these songs are (hopefully) released on CD or through iTunes like the Inca Ore / Grouper split was, or the possibility that they will be released on forthcoming albums is fruitful, these excellent singles will be heard by few. The Split album with Inca Ore showed promise that Harris was capable of something outstanding. She delivered on that promise with Dragging a Dead Deer Up a Hill. We can be hopeful that history will repeat itself and Grouper will release yet another masterpiece.

h1

2. Grouper – Dragging a Dead Deer Up a Hill

December 31, 2008
Grouper - Dragging a Dead Deer Up a Hill

Grouper - Dragging a Dead Deer Up a Hill

Portland Oregon’s Liz Harris, otherwise known as Grouper, has moved toward a more melodic sound with Dragging a Dead Deer Up a Hill. She has transformed from a studio hermit who crafts ambient slowcore to a troubador who crafts folk music, and the cloud of ambiance that she created to hang over her head has simply followed her. Her earliest albums, Way Their Crept and Wide, were notable ambient experiments and hinted at real melodic talent, but Dead Deer fleshes out these promises. The listener watches from a box seat in an otherwise empty theater as Harris weaves an intricate story through music. The result is an album that is at once haunting and beautiful, answers questions that her earlier albums posed, and raises even more. The first of which will undoubtedly be, “what is she saying?” The lyrics on Dead Deer are nearly unintelligible, but here they break through the fog more often than on previous works. The music mostly consists of simple guitar and vocal melodies, produced in a very full way. This formula, without much change, should have made for an extremely boring album, and at first that was what it seemed like to me. But I came back to this album, and not because anyone told me to. It has an eerie gravity due in part to it’s obscurity. Dead Deer is structured as a musical narrative that we want to materialize into something we can fully understand, but it always floats just out of reach. The understandable lyrical content in conjunction with the song titles can be vaguely but not completely understood; the narrator has a fascination with water, sleep, and dissociation from reality. The mood is melancholy throughout, but Harris’ melodic talent as well as careful attention to dynamics and slight variations make for utterly gripping pieces that demand further attention. After repeated listens, each song becomes individual and creates its own world. Songs match their titles. The album’s two instrumentals (although they do have bits of vocal ambiance in them), Wind and Snow and Tidal Wave, replicate desolate loneliness and a swirling wall of sound respectively. The longest song on the album, Stuck, flounders hopelessly like a fish out of water and can’t seem to find a chorus, verse, or bridge. Invisible sounds like a children’s song with a dark, unidentifiable twist. And I’m Dragging a Dead Deer Up a Hill, which acts as the centerpiece of the album, creates an aural representation of what dragging said deer (be it literal or metaphorical) up a hill would feel like. The emotional experience is very double edged, and thus that much more intriguing. It is both comforting and haunting, and it traces a path that seems to be close to the human condition. Liz Harris has tapped into something mysterious with Dragging a Dead Deer Up a Hill, and I wonder if she knows exactly what it is. Regardless of whether she does, Dead Deer is a masterwork that is a result of astounding musicianship, and a sign of more great things to come.

Grouper

Grouper

h1

Grouper – Dragging A Dead Deer Up A Hill

October 17, 2008

What a pleasant surprise that two of 2008s best releases are somewhat stylistically similar. Both Gregor Samsa’s Rest and Grouper’s Dragging A Dead Deer Up A Hill are introspective melancholy masterworks that deserve great praise and attention, but the latter might be both more difficult and rewarding.

Grouper is actually the work of a single individual, Portland Oregon’s folk/noise aficionado Liz Harris. There is very little information available on the artist. But this album will surely spark interest and cause a greater population of listeners to continue searching, in vain, for more information. But until the inevitable day when she hits it big, pretty much all that listeners will have to go on is her distinctive style which she articulates quite extensively on her studio albums, the latest of which is Dragging A Dead Deer Up A Hill.

As far as style goes on prior releases, Grouper’s genre is hard to pin down, perhaps most appropriately described as creepy atmospheric music, but on Dead Deer, Harris’s style is reduced to a singular approach. Almost every song consists solely of Harris on guitar and vocals, but the trick is that both of these instruments are multiplied. A very thick layer of distortion covers both like a blanket, causing them to resonate out into the atmosphere, and the vocals are occasionally doubled for harmonic effect, although their lyrical content is almost completely indecipherable.

This is probably the album’s most frustrating quality; the vast majority of Liz Harris’s vocals here are impossible to understand, too muddled under the thick distortion to decipher. What little is understandable is not passively heard. One has to concentrate on the vocals of the songs to realize their content, which mostly involves sleep, water, and dissociation from reality. However, the effect the distortion has on the lyrics is outweighed by what the production does for the music, which in turn matches these lyrical preoccupations quite well. From the opening chords of Disengaged, the production ruminates of stormy waters, the sparse melodies threaten to lull the listener into a deep sleep, and lonely, sad, and yearning chord progressions carry along.

All of these qualities, especially strung out over an entire release with little stylistic diversion, would presumably come together to make a very cold, unwelcoming album, but in fact the opposite is true. The production actually does the album’s atmosphere good, causing chords to echo out into the darkness like a flickering candle. In theory this should be a very creepy sounding album, but it is instead both startlingly melancholic and warmly emotional.

Perhaps what makes it so affecting are its subtle intricacies. Songs often times match their titles, namely the aforementioned excellent opener Disengaged, but even more recognizably the longest piece on the album, Stuck, whose progression is in constant conflict with itself and cannot seem to move on. Also very atmospherically distinctive and appropriately named are the barren Wind And Snow, and the following Tidal Wave, the album’s two most important songs, and opposite sides of the same coin.

These more texture based pieces work in good conjunction with the album’s more memorable melodies, namely the easy pick for best song Heavy Water/I’d Rather Be Sleeping, the faster paced Fishing Bird, and the fractured title track. But the highlights don’t stop there. At first glance Dragging A Dead Deer Up A Hill seems like an awfully samesy album, but upon repeated listens the subtle differences between tracks flesh themselves out and each song becomes its own entity. Perhaps the most startling piece on the album is the quiet Invisible. Harris lightly sings, once again barely interpretable, “Invisible/I’ve become invisible” over her most simplistic, almost childlike melody on the album.

It is here that we realize that Dragging A Dead Deer up a hill is an album filled with secrets that will most likely never be fully understood. Even the title and art seem to be extremely important to the overall product, and yet there is no evidence as to what they mean. It is hard to say whether this was intended to simply be a collection of songs or a sort of narrative either literally or symbolically based off of the album’s creepy title, but in any case Dead Deer has an eerie, unexplainable cohesion. In this way the album’s form matches the style of its songs. It is easy to feel the presence of what is there behind the music when considering all of its subtle intricacies and almost tantalizing questions that are constantly asked but never quite answered, and for this reason, the music itself is that much easier to cling onto and appreciate. Because of all of these elements, Dragging A Dead Deer Up A Hill proves to be one of the most complex and rewarding albums of the year.