Veckatimest

“Veckatimest” by Grizzly Bear (2009) I’ve never listened to this album nor heard of this group. Marked by rhythmic intricacy, instrumental complexity, innovative chord structures, and elaborate vocal arrangements, this album is very well conceived, composed, and performed. It defies genre (one of the requisite elements of what makes a classic). Only time will tell. The sonic landscape is endlessly diverting. The genius here is in the ability to compose and effectively perform an extraordinary range of chords and instrumental sounds without sounding random. Bass player Chris Taylor consistently accomplishes two things in this album: First, he ties together the rhythms from the percussion to the rest of the composition. And second, he provides a steady tonal grounding so the listener doesn’t get lost in what could be chaotic chord development. These compositions are experimental without being arbitrary and aimless. The music is well integrated within each song. It would take several listens to assess whether this integration extends to the entire album. I think I’ll give a whirl. Guitar, keyboards, and percussion flourishes are all performed with precision, with controlled pitch and tone—not an easy feat with this elaborate compositional structure. These guys have real talent, both at the ‘drawing board’ and in the studio. The lyrics, however, are underwhelming. On this album, words mainly serve to convey a semblance of vague meaning to the music. But it’s not necessary. I’d like to hear a symphony composed by this group (followed up by an a cappella compilation, because their voices are that good). Vocally, they intuit the chords (some of which it sounds like they invented). These vocal arrangements are evocative of David Crosby. It’s probably a mistake to refer to “vocal arrangement” because the vocal sounds are not put together to support a lyric melody. They actually become an instrumental group within a symphonic orchestra. Lyrics stress themes of returning to a beloved locale, with reflections on settings space and time. Abstract, but never jarring, clunky or trite. Listen to the predominance of major seventh chords on “Southern Point”. This is like the best of progressive jazz. “Cheerleader” is compositionally spare, but rich in instrumental variety, with very effective use of the Brooklyn Youth Choir as background coloring. Bear on drums gives an entrancing performance here. The second track, “Two Weeks” settles back into a relatively standard chord structure, allowing the lister to better assess individual compositional contributions and performances, which are excellent. Vocally, they sound like a jazzy Beach Boys. Whatever they lack in individual vocal virtuosity, they more than make up with their ability to ‘hear’ with their voices. “I Live with You” has influences from David Bowie and Harry Nilsson. Another brilliant incorporation of the Brooklyn Youth Choir. Percussionist Chris Bear displays a superior ability to move from one rhythmic setting to another flawlessly, rising above the standard task of merely keeping a groove to the achievement of becoming an essential component of the compositional effort. I’ve listened to and rated 26 albums on this list. “Veckatimest” is the first one I’ve decided to buy. Grizzly Bear does for contemporary music what Arnold Schoenberg did for symphonic music. Many will hate this music. The rest of us want to stay young. 5/5

It’s like a cool niche restaurant; scene, decor, theme, but food is just not my taste and now I just want Whataburger.

Why does this sort of twee, folky, indie "rock" always have to overstay its welcome? This album was over 3 songs in but for some reason felt the need to punish me for a further 9 songs and 45min. Nothing but padded drums, banjos and meaningless waify vocals. If it had been around the 30min mark (and not 55) I might have even given it a 3 just for having some self-awareness. Also, why is the softest thing ever named after an animal renowned for ripping your fucking face off? Is that part of the gag? Thanks, hipsters. HAR HAR. 2/5.

Why people hate hipsters.

What a surprise that Veckatimest showed up here! I would have never imagined that Grizzly Bear would appear, but I'm glad they did and I sure agree that this album deserves it. I learned about GB at my first Bonnaroo the year this album hit the scene, and have stayed close to them since. Their incomparable rhythms has been a breath of fresh air even for indie music. The depth of Veckatimest is rich with diverse, playful and haunting sounds and harmonies that really capture something unspoken,...an internal experience that includes feelings of sadness, anxiety and transition, but ultimately, for me, wraps around me like a warm blanket of affirmation, hope and love. Veckamist represents a day in my life, with all of the variations of heart rates, emotions, and thoughts. The balance of Droste's & Rossen's vocals touch different personal nerves, and the band's instrumentation truly is riveting. Seeing them live in a venue that can adequately reflect the beauty of their off tempo songs with the congruency of their light show, is something I'll never forget. Smooth and melodic, striking and penetrating, Veckamist as an LP is a strong reminder to the world that art follows no protocol and that it cannot be contained.

This is pleasant enough stuff. But I really don't know what it's doing on a list of the 1001 greatest albums of all time.

This is just the average of every indie rock album I've heard. Not bad, just didn't stand out. It was cool to hear the original song 'two weeks' since I've heard the sample so many times, but that's all.

Not great but better than stupid Lorde

A welcome challenge, having always avoided Grizzly Bear because being sick is funny but it's important not to overdo it. Turns out this isn't the assault on my digestive tract I feared; just a competent--nay, *perfectly* competent--Laurel Canyon folk-rock revival. Don't get me wrong, it's cutesy-poo all right--Dory is gross, and please spare yourself the horror of never being able to unsee their Spotify profile photos--but its eminent hummability, harmonic tricksiness and did I mention competence is undeniable.

Not really grizzly bears more like a group of pretentious winnie the pooh voice bears singing intentionally awkward harmonies while playing their instruments half asleep. Way too many vocal overdubs and production sounds like a vat of goop that's been cooking on the stove for days.

So much more than Two Weeks

Il est vrai que j'étais rapidement parti pour donner cinq étoiles à cet album. Ce qui m'a fait changer d'avis, c'est qu'à compter de la quatrième piste, le chanteur du groupe s'écrie après le deuxième refrain ♫ tu pourras nous mettre cinq étoiles demain stp ?♫. Même chose à la septième piste lorsqu'il déclare ♫ c'est bon tu vas mettre cinq étoiles demain ou pas ? ♫ La goutte d'eau étant l'outro quand il me menace de la façon suivante : ♫ t'as pas intérêt à mettre quatre étoiles toi ♫. Vraiment dommage.

Pretty decent, but outlives its welcome.

6/10

It had some depth and I enjoyed it. would have liked to have first heard this when I was younger

Had heard Two Weeks before. Tidy, little bit easy listening.

Two weeks is amazing, but after this song the album takes a turn and takes a more sedated approach (still good tho). I wish 'While You Wait for the Others' had the same energy as two weeks but what are you gonna drink about it.

It all kinda sounds the same but it was still enjoyable. Great for sleeping or background music.

I was so tempted to give it 2 stars after two thirds through as I really only liked Two Weeks up till then. A couple more were ok but the rest were pretty boring for me. It was mainly the slower ones that belong as part of a nice soundtrack to an indie film, but forgettable afterwards. The final three song stretch made this album worth listening for me and bumped it up a bit. It was because it was louder, darker and more intriguing than the rest. Its not for me as a whole, but do like some of its parts a lot.

I listened to this when it came out 12 years ago, and forgot about it until today. That will probably happen again.

Started well but quickly descended into very average, non descript indie. Most tracks were overly long with nothing to hold the interest. A shame.

Pretty okay, isn’t it? Lots of nice bits, lovely voices, pleasant instrumentation and melodies. A good example of its type. And therein lies the rub; its type can be a bit sort of fine unless it’s absolutely sublime (ie, Sufjan)

A few bright spots in an otherwise long album. Each song really feels like it could've chopped at least a minute off of it, sometimes more. Very sleepy, sedate. Favorite tracks: "While You Wait for The Others", "Fine For Now"

Man, I just did not like this album. I think I'm just not really a fan of indie rock in general. "Two Weeks" is solid. The rest of it? I think I could have died without hearing it. Glad I heard "Two Weeks" though.

Most of us are familiar with the song "Two Weeks", which to me sounds like what you'd hear as soon as you step foot into Urban Outfitters. The rest of these songs, while nice, are pretty underwhelming. I can't get into it. I think it's just a bit too soft for my taste. I didn't hate it, though.

Strong start but too depressing

It's going on 10 years since I listened to Grizzly Bear, so when Veckatimest showed up as AOTD, I felt immediately nostalgic for my early 20s law school days. Shields had come out during my last year of law school, and my roommate and I were fans of GB, so Veckatimest and Shields (and even Yellow House) were on heavy rotation at our place. Even the album cover really brings me back to simpler days of day drinking and playing Halo. That's all just window dressing, though--the things I felt before I actually listened to the album. I busted out my good headphones for this one, and I was genuinely excited for it. At this point, I'm 45 minutes in, and honestly, it sucks. Everything was set up for me to love it, and it fucking sucks. Songs I remember fondly--Two Weeks and Ready, Able--just sound like moaning and mandolins. I fucking hate this wussbag shit. So what changed? I've spent most of the back half thinking about the change in my views on this album and more broadly changes to people in general. Was there a point of inflection before which I liked GB and after which I didn't? Or is it more of a Ship of Theseus accretion of sensory experience where I gradually withdrew from this whining bullshit? Are the changes in us discrete or do we change with every breath we take? I don't think I know. Maybe they aren't mutually exclusive. Maybe it's different for everyone. What I do know, however, is that as the person I am today, this music is trash.

I just don't get this kind of plodding, lowest common denominator stuff. No ambition, no real craft, just a few wonky instruments, fey warbling as a stand in for an emotional core and quite a few tracks that veer into stomp-clap-hey territory. I didn't buy it then, and I don't buy it now.

One good ish song two weeks

omg, WHAT A CRAP

Really good album. I think when I first got into this, it took a few listens.

9/8/20. great album, love it. would listen again!

Perfect album

indie tranqui

Really liked this album. Indie vibes and never heard of it/this band before. Great harmonies and rhythms.

An all time classic album. Indie to the core and really instrumental

I didn’t give this a chance when it came out. But it’s incredible. Like a pop fleet foxes.

Shocked that I haven't heard of this album, it is so good. Love the rhythms and the first two tracks are superb.

Pretty good!

Missed this when it came out, which surprises me now because it has the same dreaminess I enjoyed in Z from my morning jacket

I had never heard of this band and was delighted by their sonic landscapes and playful textures. Every moment was enjoyable.

Love this

Adding to the rotation, love!

Sounds like 2011

Very surprised to see this on the list and to know how many years ago it was released.

Очень утешает

Rating: 9/10 Best songs: Southern point, Two weeks, Fine for now, Ready,able,

Grizzly Bear is a band that I already knew (slightly) through their album Shields that I listened to a few years back. I liked the album but it was part of a bunch of albums that I was in the middle of checking out and for some reason I never delved deeper into their music. I'm regretting that now. This album's instrumentation and the way that the songs were structured really blew me away, especially on the first track. They have a very unique sound that's all their own and I don't think there was a track on here that I didn't like.

I loved this album when I first heard it. Then my ear hooked onto something else, and I parked GB until Painted Ruins was released several years later. Painted Ruins was joyous and reminded me just how unique GB were and why I fell in love with them first time around. This is such a beautifully crafted record, with wonderful harmonisation, layering of instruments and voices, and surprising dynamic ranges. Blissful Best tracks: Southern Point Two Weeks Ready, Able

Гармонично сочетается полунизкий вокал исполнителя с более высокой аранжировкой. Расслабляющая музыка, но если ускорить в 1,5 раза звучит энергичнее. Альбом хорош для поездок. Отчего-то сюжетируется Fireman и как я там катаюсь на велосипеде в наушниках :)

Beautifully crafted pop album that is hard to categorize or describe. I listened a third time to fully appreciate the exquisite depth of the record. Excellent album!

One of my faves of all time. The first album of the four I've reviewed that I was a big fan of prior to...such a rock solid album all the way through, really happy that it's on this list! Ready, Able is my favorite track.

Huge fan! Nothing more to say, was a great album to listen to. Bopped along happily all morning.

Also das ist jetzt mal wieder eine ganz eindeutige Perle. So macht man ein Album!

Interessant und gut. Sollte man öfters hören.

Really enjoyed this album. I was going into it expecting indie pop like Two Weeks, but I was surprised by how complex it ended up being. It doesn't follow the typical indie trends, especially at the time of its release, and experiments with time signatures, dissonance, complex meters, harmonies, guitar phrasing and traditional song structure. Fine For Now had me nerding-out trying to follow all of the changes. It's still an indie rock album at it's core and not the most experimental thing I've ever heard, but I loved hearing the risks it took in this genre. Favourite Tracks: Two Weeks, Fine For Now, While You Wait for the Others

Easy listening, harmonies, Indy rock, alt pop meet on an excellent and exciting album

dude this is such a cool album the whole execution is perfect and every song is a 10/10 like after I finished the last song I sat for like a minute in silence waiting for the next banger of a song to come and it never did, shit was lowkey sad I restarted that album with no hesitation and it’s even better the second time yeah this album is just too good to rate, please listen to this i’m gonna go listen to the rest of their work now

did not expect to like it

Very different from what I expected The first song immediately captured me with its rich sound and Pink-Floydesque production Some hints of post-rock, nice synth sound in "Fine for Now" Very interesting vocal sound on "Dory" "I Live with You" has another great intro

I thumbed up the album within 10 seconds. All of it wasn't as good as the first 10 seconds, but wow, those first ten seconds...

Not in my edition of the book! 5 stars Came cold to this, hadn't heard of the band or the album. Surprisingly good indie-pop. All sorts of good echoes/influences in here - late 60s Beach Boys, Radiohead. On the replay list.

I fell in love with this album not too long after its release. Beautiful, haunting melodies and what complimentary vocals between the band members, leading to some great harmonies. Christopher Bear's percussion is tight, often propulsive, and alluring and Chris Taylor's bass is a great current, unifying these tracks. For me, this one's a classic.

One of the best

Cool chill wave music.

nice

In a lot of ways, they remind me of what's so amazing about Fleet Foxes. The soothing baroque vocals, the spacious folk strings and rhythmic drumming that carry you around the room like a dreamy waltz, and a mix of psychedelic - often jazzy -- focused pieces with anthemic sing-along hits possessing standard pop structures. The first 5 tracks juxtapose each other with wonderful hooks that grab your attention. "Southern Point" reminds me of Animal Collective. "Two Weeks" is an accessible folk anthem, but actually good compared to Lumineers and Mumford and Son. "All We Ask" is Beatlesesque and reminds me much of Fleet Foxes, one of the most psychedelic tracks, swinging you in circles. "Fine For Now" sounds like midwest emo, a bit jazzy and frantic on the cymbals. "Cheerleader" follows these themes, incorporating a choir and conflicting instruments that never overwhelm you. Also fan of the drums here. "Dory" is the track that gives me the strongest Fleet Foxes vibes. A weaker track, but has some of my favorite vocals, and I'm a fan of the resolution. "Ready Able" is the best track on the album; I just need to pause and appreciate the beauty of his voice and cyclic instrumental. Incredible bridge. The next two songs are my least favorite but still very enjoyable. Picks up with "While You Wait" which feels like the start of the climax. "I Live With You" is the most ethereal track, full of angel choirs, nostalgic samples, and sudden explosions of noise coming from everywhere, closing just as chaotically but leading into the Coldplay-esque closer "Foreground." I like the calmness, but I felt it ended a bit too sudden, so either the ending could be improved or just swapped with "While You Wait." Being amazed by more than half the tracks, and still having a fine time with the few I didn't care for much, I'd say it's a perfect album, and certainly one I will revisit again and again.

Very easy to listen to but also very fresh

Grizzly Bear clearly are very musically literate. This album can be characterized as psychedelic folk rock with electronic touches and moments that would be at home on a British alternative album from the 2000s. CSN like harmonies can be found throughout and the rhythms are varied and interesting. Grizzly Bear is a legendary band in indie circles but their music is accessible and their influences can be easily gleaned in listening.

Very good

2009 was a very beneficial year for the ever changing indie landscape and Grizzly Bear was one of the many bands that saw their fortunes change with Veckatimest. Rock and baroque collide to make a never ending kaleidoscope of experimental genre blending. This comes highly recommended.

Love this album and still occasionally put it on. One of the few CDs I bought.

This is an incredible album. Especially the song Ready, Able. Watch the music video too it's really good and weird.

Hell yeah. Love this album.

After a first listen I was really disappointed in the album. The first four songs were incredible, but the album fully dropped off after that. During the second listen new songs like "Ready, Able" and "Cheerleader" popped out of the album. A third listen it finally fully clicked as an entire album. I knew Grizzly Bear from when this album came out and thought for all those years this was one of those boring new-folk albums that were popular in that era. I'm glad to have been proven wrong. Really great. 4,5*

I find that the wave of Indie Folk that this was part of can either work really well or fall completely flat for me and not much in between. Fortunately the phsycadelic vocal harmonies and the grand moments on this album really work for me and make it stand far above not only the rest of Grizzly Bears discography but one of my favourite albums of that era. What I love about this album is how well it injects pop melodies into the Grizzly Bear sound while keeping interesting sonic textures and unpredictability. Do I think this album has/will age particularly well? Possibly not, but I still think it's a standout example of the sound of the time and one I'll keep coming back to.

Two weeks is a special song to me but I hadn’t really heard the rest of the album before. Fun fact, I actually saw them open for spoon and remember the front man saying “we just want everyone to know we have more songs than Two Weeks.” And it turns out they were right. This album was a real treat.

Great album, and a formative one for me in expanding my musical horizons in college. My experience with this album has always been a primarily sonic one. When listening, the sounds of this album fill my head, my room. Veckatemist has an ambience all to itself. Its soundscape is distinctly American, and utterly ethereal. It’s in-your-ear cavernous. It’s music to dream too. Haunted. It lives somewhere between the spectral works of Edgar Allen Poe and the 1960’s most anxious freak folk. And yet, it is undeniably of the 21st century. Its ghosts (anxieties) could only be of this age. Its themes are deeply personal, but its lyrics are vague and riddling enough to map your own fears too. Those topics—in my estimation—run the gamut from anxious attachments, imposter syndromes, the disintegration of relationship, coping with depression, modern malaise, and an overall frustration with an inability to live in the moment. Its victories over these immense difficulties are few and far between, and when they do arrive, such as in the late-album “I Live With You,” the advice is measured. “We’ll do what we can,” Rossen echoes as the song rises to a resounding outro. Listening to Grizzly Bear’s discography chronologically is like hearing a band come together in real time. Beginning as the solo, bedroom project of co-lead vocalist Ed Droste, Grizzly Bear’s subsequent albums each sound a little more like the work of a full “band.” But each also sounds further from the haunted, intimately homespun material that gave the “band” its unique identity to begin. Especially after the success of “Two Weeks” and Veckatimest. You can hear the band, on their excellent follow up, Shields, favoring a sound that would fare a bit better on the road, on Late Night TV, and at musical festivals. What’s truly unique about Veckatimest then, is it’s recorded just before the band really, truly becomes a band. Or, it’s at least the sound of them becoming a band. For one thing, it’s unique that Droste didn’t keep Grizzly Bear a solo project with a touring band the way, say, Tame Impala did. (Also worth mentioning here that Droste isn’t even in the band anymore as he is now retired from music and pursuing a career as a therapist.) Instead he invited 3 new individuals under the moniker of his own deeply intimate project, to contribute their own intimacies into something wholly unknown that together they might eventually hone. It’s a spirit of collaboration that seems impossibly difficult. And it’s evident too on their amazing Friend EP, released two years before Veckatemist, on which they not only reworked their own songs, but invited bands like Band of Horses, CSS, and Atlas Sound in to do the same. The results of their selfless collaboration up to Veckatemist are astounding. Droste’s own advancements in songwriting are buoyed by the those of Rossen; their vocal arrangements therein buoyed by harmonies from Bear and Taylor. Then there’s the excellent (excellent!) production of Taylor, plus the choral arrangements, the string arrangements, Bear’s minimalist-yet-explosive drum patterns, the cover art, and on and on. It’s an amazing sounding, feeling record. Coming in 2009, Veckatimest hits very near the end of the freak-folk-revivalist 2000s. I’ve heard of and have always preferred to refer to this era of indie rock as New Weird America (in contrast with Old Weird America of the 1960s, 50s, and before). But of all the albums and acts that make the genre, none feel more suited for the label than Grizzly Bear’s Veckatemist. In its geography, its band name, its spirit and democracy, its soundscapes, and its anxieties; it is Weird America through and through. Side note: I said this album is cinematic—and as if to evidence such: Grizzly Bear’s music soundtracked 2 full movies of its era. One of which is Blue Valentine, another formative favorite of mine and certainly one of my favorite uses of music in film.

Veckatimest/Grizzly Bear defined the Brooklyn sound of the 2000-teens. Just an all star combo of musicians. Incredibly creative drumming by Chris Bear and insane guitar work from Daniel Rosen. This album has everything from the pop classics like Two Weeks to cinematic epics like Fine For Now.

Из альбома я знал только сингл Two Weeks, не знаю, каким образом я его послушал впервые, но когда добавлял себе его на Споти, чётко запомнил ощущение, что где-то его слышал. Только вот где... Мне очень нравится ритмическая структура песен. Размеры может и не самые уникальные, но как хорошо они обыгрываются. Иногда они ещё и меняются в рамках одного произведения, что добавляет интриги и "симфоничности" к звучанию. Ready, Able, например. Бас как будто в контрапункте с ударными играет. Слова тут играют явно не главную роль. Скорее, это больше как мантра; много завязано на повторениях и почти полных созвучиях, скорее, они придают композициям финальную эмоциональную окраску. Но это про слова. А вот вокал - это всё-таки неотъемлемая часть каждой композиции. Чарующий, расплывчатый, иногда записанный с многоголосием. А ещё аккордовые последовательности явно нестандартные, они как будто с потолка взяты. Теперь я понял, что имели в виду The Village в виду, когда писали статью про группу ил: по вайбу очень похоже... что-то на авангардном и импрессионистском. По той же "аккордовой" причине наверняка Two Weeks и стала такой популярной: вот там как раз всё очень стандартно, без вкраплений чего-то "будто не отсюда". Мне понравилось, хорошо подошло бы к поездкам; представляю себе сельскую местность, бескрайние поля, на которых овечки пасутся... ой, так это я в университет еду, получается. Или во, засыпать под этот альбом будет очень классно! Проблема есть только в одном: лирика. Хотя в целом, за это же я могу и свой любимый In Rainbows поругать. 5-/5, есть пару мелодических нюансов, которые показались мне странными. P.S. Взял за привычку лезть в Википедию читать про альбом до его прослушивания. Группа Beach House из примерно 4 альбомов назад в лице вокалистки Виктории Легран передаёт привет через бэк-вокал. Такие вот совпадения.

Ура, что-то интересное по звучанию и при этом не звучит как каша! Я падок к кантри музыке и к той музыке, которая способна меня зацепить в какой-то поток и заставить просто ехать вместе с ней. Поэтому твердая 5

Enjoyed this quite a lot!

Godt album og meget originalt. Kræver nok lige et genlyt mere. Men masser af fedt musik. Lidt kashmir agtig

-Easy to listen to -Vocals jarring at first but got used to them fairly quickly. -Just a chill record

Pretty good stuff.

Trippy und gut

Love Two Weeksl, but I wasn't quite as wowed by the rest as I'd hoped. Not bad, just not 5 stars.

Angry I didn't listen to this in full sooner. Brimming with a melancholic energy that permeates the entire LP. The arrangements are dense but discernible, and the shifting natures of the track means there's never a dull moment.

Good album. Maybe I'm a little over this sound, but its pleasantly nostalgic for me.

I knew a few of these songs. It's not always my jam but when it works it's nice. I can respect that these are pop-indie-rock songs but there is a bit of nuance to them, some interesting structures/tempo changes. 3.5 up to 4.

Nice, worth double check

Quite enjoyable. These guys are cool.

I already had "Two Weeks" liked at this point, this album is really a throwback, but still pretty good. I give it a 4 so far. It starts out strong but becomes background noise.

Really enjoyed this, very much an indie, garage sound.

Nice mixture from pop and rock, kind of Britpop

Pretty good chill indie rock. The sort of thing to throw on in the background and not really pay much attention to.

Very enjoyable and different. I hear a mix of fleet foxes, steely Dan, and my morning jacket. Beautiful music.

Some cool sounds but kinda slow and not something I plan to go back to often. 7

I think Southern Point is the first indie rock album opener I have liked in about forever. AH! I remember Two Weeks taking over the world for a hot second. This album has groove, though its a late 2000s indie album. Yea this album was cool.

Alternative rock at its most intrigant... the textures, that voice, obscure melodies... not easy, but you never get tired of it