![]() ![]() But every time this song ends, I don’t want to go back to the real world. At its peak, it has such a humongous and glorious sound that you get lost in it and wander in darkness for a little while until the piano and vocal harmonies lead you back to the real world. The ebb and flow is expertly executed (but in no way does it sound stiff), with piano and omnichord taking the lead, then letting up for percussion-prominent sections. Like Two Weeks, every instrument works together. While about twice as long and three times as varied in volume (both making it far less likely to be played on the radio), it reminds the listener of everything that’s great about Two Weeks. Even though I might’ve liked to hear a similar tune (one with a little adventure that might still make it on the radio), I’m still in love with Sun in Your Eyes, the final track of the new album. Now, because Two Weeks, off Veckatimest (2009), ranks second on my all-time favorite song list, I was a little disappointed that there was no great big jam song like Two Weeks. ![]() No matter what, Grizzly Bear owns their sound at every moment. Most songs feature some sort of added electronic element (See: What’s Wrong or gun-shy), and the band, at points, even dabbles in the pop-rock realm (See: A Simple Answer or Half Gate). Although some of the album’s songs sound like they could be off a Fleet Foxes album (The Hunt in particular sounds like it could be a B-side from Helplessness Blues), Grizzly Bear‘s Shields pushes the boundaries of that folky reverb style and ventures into a much broader range. ![]()
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