Great American Music Hall

One of the year's best records - [Review- 8.7/10 Best New Music] PITCHFORK

...Sounds alternately like Sgt. Pepper –era Beatles and a lost Elliot Smith album- [Breaking Feature] ROLLING STONE

The band makes use of an impressive array of instruments- clarinet, piano, banjo, autoharp, xylophone, flute, recorder, electronics- to create a sound that is by turns haunting, lonely, joyful and rollicking - [Gen F Feature] THE FADER

...Every echoed flute part is essential, bulking up tracks such as the soul embalmingly beautiful "Knife" and the cherubic "Little Brother" into bright burning post rock epics- more like My Bloody Valentine jamming with a ghostly choir than any folk troupe [Live Review] NME

Grizzly Bear's gorgeously hazy second disc is a major leap forward [Review] NPR

Home-recorded songs can feel incomplete whilst being as tantalizingly indicative as the sketches before a painting. The outlines, though interesting in their own respect, are not as satisfying as the finished version. Grizzly Bear, however, have approached song writing as a craft to master from their very first album, Horn of Plenty onwards. Enamored by how a song "reads", they were fully present from prologue to denouement even though singer/songwriter Edward Droste recorded them by himself in his Brooklyn bedroom.
They explored the depths of break-ups through crystal-clear tones, field sounds and woozy, complex harmonies.

The new material that comprises Yellow House (released on Warp Records on September 4th) puts the band at the vanguard of contemporary song writing. The album was self-recorded during an idyllic summer. The makeshift studio was provided by Droste's mom's living room in a yellow house just off Cape Cod.

Magical, haunting melodies are still their mainstay. Grizzly Bear always craft their songs from start to finish - meticulous instrumentation and arrangements are their specialty. On Yellow House, Grizzly Bear still flex their lo-fi connoisseurship, but with a better recording - DIY embellished with Taylor's fine sonic engineering acumen. Droste and Rossen share initial song writing duties, although the entire band collaborates to breath life into the tracks.