2023-07-20 11:33:30
The Grizzly Bear-Duo Daniel Rossen and Christopher Bear follow up You Belong There equally on the wonderful soundtrack to Celine Song’s debut film Past Lives together.
The bittersweet, melancholic sketches and fragments of the score, which awaken with gentle grace, are reminiscent of Rossen’s famous 2022 solo album, on which Bear played a major (drums) role: In der Klavier-Träumerei Across the Ocean with its free-floating string arrangements, for example, as well as the comforting, uplifting one knit according to more conventional soundtrack patterns Eight Thousand Layers. Crossing II airs the room with almost sacral devotion and plucks the strings in dim spirituality, meanwhile In Yun like a sedative Talk Talk-Fever dream of Grizzly Bear appears, and We Live Here as well as Bedroom pleasantly meditatively splashing with a secret Jon Brion longing indulge in the sadness of the Far East. Why Are You Going to New York and An Immigrant and a Tourist offer as the clearest overlap even so absolutely typical (warm, soft) Rossen guitar playing, but add a latent borderland-desert flair in elegiac familiar alienation, meanderingly shuffling like the instrumentally jazzed-up reverberation You Belong There occurring.
Around this core moves Past Lives freely and with an almost ambient casualness, whose unreal beauty is rarely explicitly tangible and the two musicians rarely let them reach for their traditional instruments – the drums and the guitar.
in the astral If You Leave Something Behind synth subtleties sparkle and the curious crossing ripples reservedly swaying over a sea of subtle brass. You Gain Something Too might be a vague sound installation by Sigur Rós or Mom be, Do You Remember Me almost dancing folklore with its chamber music touched by restrained, romantic strings. I Remember You jingles in somnambulum, flickering in a collage half-sleep as an enchantingly out-of-phase, flaring pointillism of knowledge.
The cosmic trance Staring at a Ghost moves in an open structure as well See You and leaves Past Lives work as a whole even without the associated images of the film, although it is rather aesthetically pleasing, has a secondary effect and is unobtrusively pleasing – but this all the more deeply effective in stimulating the imagination in a benevolent comfort zone.
The final one stands out most clearly Quiet Eyes out – a new song by Sharon Van Etten. Gracefully and calmly, she embeds the piece in an elegant orchestral setting, breathily reveling in a subversive catchy tune, which later gets something jubilant and even a restrained, brazzing, rocking guitar swindles into the background, giving the initially inconspicuous grower Quiet Eyes also above the status of a very successful standard.
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