Veckatimest
If Grizzly Bear’s second album, *Yellow House*, defined their baroque indie-folk sound, *Veckatimest* polished it until it gleamed. With its youth choirs (\"Cheerleader\") and string quartets (\"Southern Point,\" arranged by composer Nico Muhly), the album is an exercise in detail—obsessive and a little dark but still amazingly pop-minded, like The Beach Boys had they been raised on *Grimm’s Fairy Tales* instead of the sunny California coast.
One of the year's most anticipated albums turns out to be worthy of the hype, as Grizzly Bear continue to expand their approach to lush chamber pop.
The neo-classical precision of Grizzly Bear’s music—the feeling that its choral harmonies, woozy orchestrations, and slippery waltz signatures aren’t just written, but composed—has only grown more pronounced since Yellow House, but somehow that meticulousness never becomes lifelessness. Veckatimest was named after an…
It's hard to decide what the most impressive thing about Veckatimest is: Grizzly Bear's ambition, which is seemingly boundless, or the fact that this boundless ambition never eclipses these songs.
With a stamp of approval from Radiohead's Johnny Greenwood, it’s no surprise Grizzly Bears’ new album has been generating some serious interest amongst musos.
Recorded in relative isolation in Cape Cod, the third album from Brooklyn quartet Grizzly Bear is one of the most organic-sounding releases you’ll hear in 2009.
<p>Veckatimest's only down side is a touch of preciousness, says <strong>Gareth Grundy</strong></p>
The album’s musical skeleton is a patchwork that borrows from the influence of folk torchbearers past and present.
<p>With Grizzly Bear, it's not just in yearning, falsetto topline melodies and rich harmonies, but also in the "fat bass" that characterised Brian Wilson's heyday, says <strong>Michael Hann</strong></p>
Grizzly Bear - Veckatimest review: Veckatimest works like a cash-back bonus, the more you give in to it, the grander the return.