Grizzly Bear
Shields

I listen to "Shields" and it seems almost nothing has changed: very catchy songs, sophisticated sounds, successful experimentalism, everything in place, in short. But the problem is precisely this, there has been no evolution, everything is the same as three years ago! If this might be acceptable for other bands, other artists, with Grizzly Bear it becomes a tough pill to swallow, but nevertheless... I'll have to come to terms with it.

The album lacks significant emotions. The predecessor was a constant rise and fall, stasis and frenzy, a constant increase and decrease of body temperature. The listener was thrown (and at the same time cuddled) from one side to the other, in a constant communicative whirlwind that left no time to reflect, to think about what might happen with the next piece, you couldn't know where you would end up.

The complex construction of the songs remains at an extremely high level (some groups can only dream of it!), each instrument occupies its place without overpowering the others, chosen to enhance the piece, and is ready to emerge from the dense texture only for the necessary time. Adapting to its precise container, every nuance manages to stand out at the right moment. After all, the production role is still entrusted to the skilled Chris Taylor, a multi-instrumentalist who plays the bass in live appearances.

But the dreamy rhythm of Two Weeks is missing, the compulsive finale of Ready, Able, the choral explosion of the refrain of While You Wait For the Others, and the accelerated guitar of Speak In Rounds will never reach the "Simon and Garfunkelian" poetry of Southern Point. And then there can never be another song like I Live With You... never again, never again...

There's the fantastic Adelma, which is the tail of Speak In Rounds, a little longer and with lyrics it would have been a masterpiece. Yet Again also stands out, with its harmonies that make you nod your head to the right and left; Sun In Your Eyes with its sumptuous arrangements that make it seem more like film music (something they are accustomed to) than a rock band. Finally, the romantic Gun-Shy, which will cradle you under a Tokyo night sky.

Coming to the bottom line, an excellent listen for those approaching the Grizzly Bear planet for the first time; however, those who, like me, were struck in the "distant" 2009, will not be particularly thrilled by this work.

In my heart, I hope that the Brooklyn guys haven't shot their last rounds yet and I wish them a career full of new surprises.