Life In The UndergrowthI make no bones about it; the entry today is going to focus on the many varied types of flora and fauna that is hidden beneath the murky mainstream strata of music culture. Well two anyway!
We'll start off with Grizzly Bear who I profiled sometime last year, that's by the by though; as this September 4th marks the release of their second album proper "Yellow House" on Sheffield's own Warp Records. This record has been a long time coming, a fact acknowledged by the band themselves, so much so that they felt inclined to offer a stop gap recording in May this year, the apologetically titled "Sorry For The Delay" on Audraglint Records. "Yellow House" was recorded over the course of the last summer in a makeshift studio in Ed Droste's mother's living room in Cape Cod.
A shift in the band's already quite dynamic sound has taken place now that the once one piece come two piece, has solidified into a quartet. Yellow House all at once manages to sound as before like an etherised version of all those late great folk greats like Nick Drake but with a more modern take on things. There are also some fantastic sounding Beach Boys/Brian Wilson esque sounds that seem to drift in on an almost sonic feeling wind, that flows around inside the listener's mind (or mine) for hours or even days afterwards. By the time you reach the suitably soporific sounding closer "Colorado" you feel every bit as much as you've been on a journey with the band themselves.
On A Neck On A Spit
WOODS Began life as a collaborative project between musicians Jeremy Earl and Christian Derouek, who invited selected friends under the banner of "woodists" to play with them and record the output for human consumption. These early recordings were mostly issued in very limited runs as cassette only on a number of private press labels.
"How To Survive/In The Woods" is one such example of these early recordings originally issued as a double cassette release on Fuck-It Tapes it has now been granted a new lease of life thanks to the punative efforts of Release The Bats in Sweden. The band themselves are at times swathed in gentle bonhomie folkisms whilst at others prone to creating the most amazing burst of terroristic sounding lo-fi madness. A sound that cuts across the divide between the current trend for organic sounding primal folk of bands like Wooden Wand & The Vanishing Voice, to the fuzz laden music of late 90's band Eric's Trip.