Foggy Notions is mad chuffed to announce fellow Warp Records artist GRAVENHURST as very special guests to GRIZZLY BEAR in Dublin on Friday November 24. This will be the debut Irish performance for both acts! Do not miss it.
For those not familiar with the awesome GRAVENHURST:
Nick Talbot, aka Gravenhurst, moved to Bristol from the Home Counties in the late 1990s, drawn by work from the likes of Third Eye Foundation and Flying Saucer Attack, “just completely new sounding music which blew my mind.” He became a member of Assembly Communications, a My Bloody Valentine-esque troupe whose swift A&R showcase-abetted rise felt uncomfortably beyond the control of the band members themselves.
Nick then embarked on the DIY path and founded Silent Age Records, releasing his debut album, ‘Internal Travels’, as well as the early works of such West Country luminaries as Mole Harness and War Against Sleep (now signed to Fire Records). He also found time to partner Guy Bartell in establishing and maintaining the horror-tronica outfit, Bronnt Industries Kapital.
On his voice and guitar playing: “I didn’t want to sing, but when I did I found out I had a very weak voice, so had no choice but to sing quietly. I figured if I couldn’t scream like Bob Mould or croon like Scott Walker I’d have to coo like Bellinda Butcher. With guitar playing my influences are Bert Jansch - King of Fingerpicking, Kevin Shields - King of Noise, and Bob Mould - King of Rock.”
Gravenhurst's second album ‘Flashlight Seasons’ came out on Silent Age in 2003, a more complex work than the sparse debut long player, not least thanks to the increased use of drone-heavy arrangements in sustaining that ‘foreboding’ mood. It was awarded ‘Album of the Year’ by West Country listings bible, Venue magazine.
In 2004 Gravenhurst signed to Warp, re-releasing 'Flashlight Seasons' to much acclaim, and quickly following it up with 'Black Holes in the Sand', a mini-album of intense, sonic, folk-influenced murder ballads.
Moving into sonic rock territory, Nick and drumming mainstay Dave Collingwood retreated to Toybox Studios in Bristol to record the fourth album 'Fires in Distant Buildings'. In a studio diary Nick wrote: “The studio has an abandoned lift shaft which makes a great reverb chamber, and is haunted by the ghost of a horse, as it used to be the stables of the building above. The horse was hanged for a crime it didn't commit in 1888, and its restless spirit now wanders the square in limbo. I saw the horse in the control room after drinking a bottle of cough syrup.”
Live Nick and Dave are joined by new recruit Huw Cooksley on bass guitar and electrical devices.
Foggy Notions presents...
GRIZZLY BEAR
& very special guests:
GRAVENHURST
WHELAN'S, DUBLIN, FRI NOV 24
Tix €14 (plus booking fee) from WAV Box Office 1890 200 078, City Discs & Road Records
Brooklyn-based Grizzly Bear’s new album Yellow House, their debut for Warp Records (Aphex Twin, Boards of Canada) places them at the very vanguard of modern songwriting, harbouring elements of psychedelica, americana, and electronica into a hazy, magical, ghostly masterpiece of an album. To see these four musicians recreate this intricate, complex, impossible music live is something to treasure. Their live set is based around an inventive use of traditional rock and folk tools with toy instruments, electronic devices and an array of effects pedals. At the heart of all is some wonderful romantic, cosmic songwriting. Do not miss them in action for their debut Irish performance.
Press Quotes:
“One of the year's best records.” - Pitchfork *9/10
“One of the most significantly original excavations of pop music of the last decade” - Foggy Notions
“It's like wandering through Brian Wilson's mind on a clear day in 1967. Yellow House isn't an album to dip into; instead you dive in and sink to the bottom, at once drenched in emotion and uplifted.” – The Guardian 4/5
*
“The production is more sophisticated, the arrangements more intricate, the melodies and harmonies more complex...” – Uncut 4/5
*
“Grizzly Bear become a necessity of their own.” – Sunday Times 4/5
*
“This excellent and diverse record deserves to reach an audience beyond those already seduced by similarly eclectic contemporaries (and near neighbours) Animal Collective and Sufjan Stevens.” – The Times 4/5
For those not familiar with the awesome GRAVENHURST:
Nick Talbot, aka Gravenhurst, moved to Bristol from the Home Counties in the late 1990s, drawn by work from the likes of Third Eye Foundation and Flying Saucer Attack, “just completely new sounding music which blew my mind.” He became a member of Assembly Communications, a My Bloody Valentine-esque troupe whose swift A&R showcase-abetted rise felt uncomfortably beyond the control of the band members themselves.
Nick then embarked on the DIY path and founded Silent Age Records, releasing his debut album, ‘Internal Travels’, as well as the early works of such West Country luminaries as Mole Harness and War Against Sleep (now signed to Fire Records). He also found time to partner Guy Bartell in establishing and maintaining the horror-tronica outfit, Bronnt Industries Kapital.
On his voice and guitar playing: “I didn’t want to sing, but when I did I found out I had a very weak voice, so had no choice but to sing quietly. I figured if I couldn’t scream like Bob Mould or croon like Scott Walker I’d have to coo like Bellinda Butcher. With guitar playing my influences are Bert Jansch - King of Fingerpicking, Kevin Shields - King of Noise, and Bob Mould - King of Rock.”
Gravenhurst's second album ‘Flashlight Seasons’ came out on Silent Age in 2003, a more complex work than the sparse debut long player, not least thanks to the increased use of drone-heavy arrangements in sustaining that ‘foreboding’ mood. It was awarded ‘Album of the Year’ by West Country listings bible, Venue magazine.
In 2004 Gravenhurst signed to Warp, re-releasing 'Flashlight Seasons' to much acclaim, and quickly following it up with 'Black Holes in the Sand', a mini-album of intense, sonic, folk-influenced murder ballads.
Moving into sonic rock territory, Nick and drumming mainstay Dave Collingwood retreated to Toybox Studios in Bristol to record the fourth album 'Fires in Distant Buildings'. In a studio diary Nick wrote: “The studio has an abandoned lift shaft which makes a great reverb chamber, and is haunted by the ghost of a horse, as it used to be the stables of the building above. The horse was hanged for a crime it didn't commit in 1888, and its restless spirit now wanders the square in limbo. I saw the horse in the control room after drinking a bottle of cough syrup.”
Live Nick and Dave are joined by new recruit Huw Cooksley on bass guitar and electrical devices.
Foggy Notions presents...
GRIZZLY BEAR
& very special guests:
GRAVENHURST
WHELAN'S, DUBLIN, FRI NOV 24
Tix €14 (plus booking fee) from WAV Box Office 1890 200 078, City Discs & Road Records
Brooklyn-based Grizzly Bear’s new album Yellow House, their debut for Warp Records (Aphex Twin, Boards of Canada) places them at the very vanguard of modern songwriting, harbouring elements of psychedelica, americana, and electronica into a hazy, magical, ghostly masterpiece of an album. To see these four musicians recreate this intricate, complex, impossible music live is something to treasure. Their live set is based around an inventive use of traditional rock and folk tools with toy instruments, electronic devices and an array of effects pedals. At the heart of all is some wonderful romantic, cosmic songwriting. Do not miss them in action for their debut Irish performance.
Press Quotes:
“One of the year's best records.” - Pitchfork *9/10
“One of the most significantly original excavations of pop music of the last decade” - Foggy Notions
“It's like wandering through Brian Wilson's mind on a clear day in 1967. Yellow House isn't an album to dip into; instead you dive in and sink to the bottom, at once drenched in emotion and uplifted.” – The Guardian 4/5
*
“The production is more sophisticated, the arrangements more intricate, the melodies and harmonies more complex...” – Uncut 4/5
*
“Grizzly Bear become a necessity of their own.” – Sunday Times 4/5
*
“This excellent and diverse record deserves to reach an audience beyond those already seduced by similarly eclectic contemporaries (and near neighbours) Animal Collective and Sufjan Stevens.” – The Times 4/5
