Review in Retrospect: Grizzly Bear’s Veckatimest 7/10

Hailed by critics and hipsters alike, Grizzly Bear's Veckatimest seemed to be one of the “it” albums released in the first decade of the 2000s. These guys are undoubtedly incredibly talented (especially Daniel Rossen), but to hail this confusing (and awkward?) effort as the band’s finest work is downright tragic. At least pass the baton to Shields (my 3rd favorite from the quartet, but immensely better than Veckatimest). Plus, Shields was also acclaimed by hipsters and critics. So! What is it that entices listeners to impulsively praise Veckatimest? I believe it’s that, in all fairness, the album is highly eclectic. Though I’d rather use the word cacophony, I have to not totally bash the project and search for what makes the work stand out. Yes, Veckatimest has the infectious “Two Weeks,” plus there are a few other decent songs, but Grizzly Bear’s masterpiece? Hell no.

The album begins with “Southern Point.” Things start intriguing with hushed acoustic guitar and compelling chords, but as soon as the music makes an awkward detour to robust syncopated guitar chords, the song arrives at a place filled with lame melodic material with accents from pioneer-style percussion. The listener is now divided as to what the hell the rest of the album is going to sound like.

Number two is "Two Weeks," but it undoubtedly is number one in terms of popularity. It's a great song. Droste sings with exceptional clarity, and the lyrics offer interesting vocabulary without coming across as overly intellectual. "All We Ask" is quite boring, mediocre. The simple guitar opening and steady drum beat are slightly interesting, and I'm trying to search for why this is the only interesting material in the song. Maybe it's because it has a sense of solace to it? Like lonely intimacy? I'm trying to be objective as these bizarre songs will let me.

I haven't really dived too deep into the lyrics. They're still songs, despite the focus being clearly concerned with sophisticated sound. Overall, the phrases are quite eloquent, but cryptic semantics can easily lead the listener away. However, they do stay true to the vague, enticing nature of the lyrical material. I honestly am more interested in the sound than the meaning because, as I said before, the focus is clearly the music. Only "Two Weeks" and maybe "Ready, Able" have a clear message.

The beginning of "Ready, Able" is really quite stunning. The simple switch from duple to triple, from dry to wet, is beautiful to hear, and Ed's vocals are... solemn and... man, I can't think of what else really. Very mysterious. "About Face" is quite nice as well, but not on par with "Ready, Able." The chords are very simple, and there isn't a lot of blatant contrast, but that makes the song quite compelling. Contrast is where "Ready, Able" thrives, and, this is an odd way to put it, "About Face" conjures confidence amidst the static musical expression.

"Hold Still" is absolutely beautiful. The chords strummed softly on the guitar are very inviting, and the soft, quasi-airy vocals create a quiet, reflective environment. "While You Wait for the Others" is straight-up Daniel Rossen. Go listen to "No One Does it Like You" by Department of Eagles, another project Rossen plays a leadership role in, and you will definitely know what I'm talking about. Both have an abstruse sense of austerity despite their seemingly basic nature.

"I Live with You" is extremely awkward: the children's choir, rapid electronic scales(?) or arpeggios(?), and, well, just everything about the song wreaks crap.

The album ends with "Foreground," a quaint but slightly boring track that begs the question, "Is this album mediocrity, or is there actually something to it?" My opinion is that it's both, but, more than anything, this is an incredibly strange album made by strange people. Ugh... words fail me.