Grouper - Grid Of Points

Grouper, AKA Liz Harris has been a defining figure in Ambient, Low-Fi, Psychedelic Folk and more since the early 2000's.  Now, the first time I heard Grouper was on 2005's "Way Their Crept".  This album really took me off guard, because I knew this to be a weird and Low-Fi album dealing with some bizarre Ambient works.  But it became very clear very fast that Liz was a master of freakish Ambient.  This album is chilling and unsettling and absolutely will have you on the edge of your seat.  It's a bizarre album, with tons of sounds that don't even sound like they were made by humans.  As a matter of fact, half of this album sounds like an alien abduction.  But man is it fun, and interesting!  Liz returned in 2006 with "Wide", a much warmer and inviting album.  Yes, Grouper was still a very experimental project filled with sounds you really weren't hearing anywhere else.  And yes, on some of the early tracks this still sounded like an abduction.  But there was something so calming and ethereal about this album that I thought was so wonderful. 2007's "Cover The Windows and the Walls" was just as soothing, but showed Liz breaking into a more Drone-oriented style which was a little hit or miss.  But still.  Liz was experimenting with all sort of sounds and for the most part, they were working. 2007 marked the first time Grouper really blew me away, with Liz's release of "Dragging a Dead Deer Up a Hill".  This album was Liz's first venture into some more Singer-Songwriter elements while keeping a firm grasp on sound play and experimentation.  The result was a very dreary, dreamy, ethereal Folk album.  Liz often came off endearing and incredibly beautiful, yet chilling deep down.  And the magic of it was since Liz had a handful of Ambient albums under her belt, the atmosphere of this album was absolute perfection. Now, I understand that a lot of people are really into 2013's "The Man Who Died in His Boat".  And I do truly understand why.  Liz's atmospheres are just as on point and her sound play is truly at a peak.  But for the Folk and Psych Folk tracks here, I just wasn't feeling them nearly as much as the last few Grouper projects.  However, 2014's "Ruins" took an unexpected turn.  This album had Liz going completely Folk, ditching the sound-play and ambient work.  Now, don't get me wrong, this album had a strong atmosphere.  But this was Liz's most straightforward work to date, and it was absolutely gorgeous.  Liz had never sounded so human, so emotional, it actually sort of blew my mind.  Liz Harris is back with her first Grouper album in 4 years.  And it seems like Liz is sticking with this much more meditative, straightforward Folk sound.  But is that great atmosphere still intact?  Let's find out.

    This short album starts out with “The Races”.  It’s a very peaceful intro, with some nice use of sound effects.  But when Liz comes in with her very layered, lush vocals, this goes from just another intro to an absolute experience.  It’s beautiful, and Liz’s voice is just so longing here.  I mean, I can’t say too much about this track is only 50 seconds, but it certainly gets you in the mood.  Then we have “Parking Lot”.  The instrumentals on this album are all so simple.  It’s often just Liz and her piano and more times than not it’s just breathtaking.  Her voice still has this innocence and youth to it, like she’s recording these tracks in secret and doesn’t want anyone to hear.  I mean, if you’re not usually into very breathy, dreamy Folk artists this will literally blow right past you.  But I love just how emotional this is.  Liz may seem like she’s in a murky haze, but she comes off so heartbroken through it all.  “Parking Lot” is incredible, and while it doesn’t really have the same amount of sound-trickery as her more experimental stuff, I’m loving this.  Now, while there isn’t nearly as much experimental stuff on this album, Liz hasn’t given up on making dense, impenetrable atmospheres.  “Driving” is a little less layered and more straightforward, but it’s just as breezy.  Overall, I feel like this album may be one of Liz’s most readily accessible and straightforward releases. But she’s just so good at what she does that I can’t say no.  This track is just so deep sounding, the atmosphere just sounds endless, like Liz is performing in the middle of some massive black cloud that refuses to go away.  But there’s just enough hope deep down to make this one really resonate with you.  Now, the silence in between these tracks is absolutely deafening, and one of the most intense elements to this album.  You really never know what you’re going to hear next.  “Thanksgiving Song” is up next, and it’s the most ethereal yet, with Liz’s already haunting vocals being surrounded by dozens of ghostly backing vocals.  But at the same time, it leads to her most upfront vocals here.  It’s all so patient and beautiful, I could only imagine what this album would be like if it was twice as long.  The mystery in these tracks is also a gigantic selling point, you really don’t even know where you’re going to end up.  But rest assured, it’s beautiful.

    Now, of the 7 tracks here I feel like “Birthday Song” may be the weakest.  It’s a little too dreamy and light, to the point where this one’s structure gets lost quickly.  However, I do like the more claustrophobic tone to this one, and just how dangerous this sounds deep down.  Even Liz in this atmosphere just seems to be a little too drenched in effects, and that’s saying something.  But my goodness, how can you not listen to a track like “Blouse” and not feel so warm and good about yourself.  As far as a singular vocal performance goes, this is the crown jewel of the album.  Liz sounds immaculate, her vocals are just so soothing and inviting.  And even that thick atmosphere for a few short minutes just seems so welcoming.  This very short album wraps up with “Breathing”.  And I have to say, I just love the recording on this album.  It’s just so deafeningly quiet, and most of the time we’re all alone with just Liz and her piano, so you’re damn right it’s intimate.  All of the fans of her early, sound-defying work are going to be a little upset for sure.  But for me, I can’t say no to just how pure and beautiful this is, and absolutely dreamy.  I’ve said it before, but any fan of dreamy and dark Folk artists are going to really eat this up.  And to an extent, this almost reminds me of “Put Your Back N 2 It” era Perfume Genius.  But this finale is a little different, because halfway through we do get some of the experimental vibes and Ambient trickery that Liz has mastered.  While it’s not a complete headfirst dive back in that direction, it’s a strong salute to that era of her career, ending this album off with a sound that can make any fan happy. 

Rating: 8.3/10

Give A Listen To: “Parking Lot”, “Thanksgiving Song”, “Breathing”, “Blouse”

Genre: Chamber Pop / Folk / Ambient 

Overall Thoughts:  This is by far Liz’s shortest project to date, and you may argue that it’s’ more of an EP than anything.  But in the short time that we do have with Liz on “Grid Of Points”, it’s absolutely stunning.  Liz’s work here is some of her most consistent, with her barely wasting a single second of her time here.  Her vocals are often shrouded in mystery, the atmospheres are usually dense, and her performances are warm enough brighten up any day.  Could you imagine if this album was even longer and worked in more experimental elements?