Get Creepy with Grizzly Bear

It’s hard to avoid Grizzly Bear these days.  Whether your reading material of choice is Pitchfork, The New York Times, or one of the first negatives reviews from the Chicago Sun-TimesDrowned in Sound has declared it Grizzly Bear Week.  Alas, there are many others, including:

About.com- Grizzly Bear – Veckatimest: 4.5/5
Allmusic- Grizzly Bear – Veckatimest: 4/5
Gigwise- Grizzly Bear – Veckatimest: 4/5
MusicOMH- Grizzly Bear – Veckatimest: 4.5/5
NME- Grizzly Bear – Veckatimest: 8/10
Q- Grizzly Bear – Veckatimest: 4/5
Reax- Grizzly Bear – Veckatimest: 5/5
Slant- Grizzly Bear – Veckatimest: 4/5
Spin- Grizzly Bear – Veckatimest: 4/5
Uncut- Grizzly Bear – Veckatimest: 4/5
Under the Rader- Grizzly Bear – Veckatimest: 9/10

The first single, “Two Weeks” is pretty nice chamber pop, quite reminiscent of Cardinal and The Heavy Blinkers, although nothing touches Cardinal’s greatness quite yet that I’ve heard.  It’s nice to see essentially a chamber pop album getting such attention though, even if it’s all a tad hyperbolic.  The new video, released this week of “Two Weeks,” is equally memorable, if merely for its stark creep factor.

UPDATE:  The Irish Times on Grizzly Bear, the so-called Pitchfork effect, and the changing popular music landscape.   One point about the opening assertion by Jim Carroll of Grizzly Bear; twenty years ago such bands did exist and enjoy careers.  The year was 1989, and I will let Scott Miller continue from there.  I understand his point, but it’s foolhardy, and way too technologically deterministic,  to think independent bands are only just now having careers.  If anything, there’s often not enough discourse today because of the said Pitchfork effect–a gatekeeper of merely a different sort.


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