Silent Hour / Golden Mile

The 2012 EP by Grizzly Bear\'s Daniel Rossen, *Silent Hour/Golden Mile*, features material intended for the next Grizzly Bear album. It\'s a refocus for Rossen, centering on the emotive and artsy underpinnings that made the Bear\'s earliest material so engrossing. Always in danger of being overdone by ornate musicianship, Rossen\'s songs are here kept to a minimum of fuss (by his standards). The overpronounced bass guitar of \"Up on High\" adds to the attractively askew arrangement, which also features orchestration that\'s kept tidily in the background. \"Silent Song\" adds slide guitar pinched from the George Harrison school, while \"Golden Mile\" goes a stretch further in evoking the ex-Beatle\'s solo work, with a vocal and arrangement that could place it on *All Things Must Pass*. \"Saint Nothing\" is curiously reminiscent of Harrison\'s bandmate Paul McCartney, with a piano ballad that sounds like a lost early-\'70s deep album cut. Despite these obvious reference points, Rossen is a distinct individual who\'s arguably at his best on his own.

The Grizzly Bear and Department of Eagles member's first solo EP is a brief, majestic song cycle.

Within the context of Grizzly Bear, Daniel Rossen plays the traditionalist, sharing Van Dyke Parks’ knack for ornamental layering, but never obscuring that there’s an actual song under there. Isolated on his first solo release, this core strength becomes even more apparent. The five tracks that make up Silent…

Well, look away now Marcus, because the new EP from Grizzly Bear’s [a]Daniel Rossen[/a] is a truly grandiose effort.

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"If I had a chance to see the friends I've loved and lost/And beg for their return," an insidious line from the orchestrated waltz splendor "Silent Line"

The album plays like the antithesis of the work that’s cemented Daniel Rossen and his bandmates as the foremost purveyors of intricate.

Daniel Rossen 'Silent Hour / Golden Mile' album review on Northern Transmissions.

Daniel Rossen - Silent Song by Redeye Distribution Since November 2010, the end of Grizzly Bear's touring round for Veckatimest, Daniel Rossen's major contributions to music were put on a minor creative hold, which is fair considering how dense of an effort Veckatimest ended up being. That album contained a certain grandiosity that was always