Grizzly Bear features in New York Magazine and The New Yorker

Great articles in both New York Magazine and The New Yorker about Grizzly Bear (I was tipped by Ed Droste himself on his Twitter channel, here and here).

From New York Magazine:

Droste’s voice is a full-bodied, multi-octave-reaching instrument reminiscent of the more-earnest end-of-eighties New Wave (think Curt Smith from Tears for Fears or a less-campy Morrissey), but it took him a while to feel confident about it. “I was insecure about the songs, about my voice,” Droste remembers. “I was fearful of judgment and fearful of what people would think and just generally fearful.”

From The New Yorker:

When all four band members harmonize, Grizzly Bear sounds like a boys’ choir. This kind of harmony has its roots in the multitrack backing vocals that Brian Wilson produced on Beach Boys records like “Smile” and “Pet Sounds,” but it could just as easily be drawing on forms of American church music and on modern classical composers like John Tavener. Within the genre of indie rock, the move toward more singing done by more voices in a more articulated harmonic framework began somewhere in the early aughts, with artists like Sufjan Stevens.

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