Grouper

Days were when Liz Harris had a new album on the way it was the rippling fringe that was excited. Now by the grace of gauziness, Grouper is practically a household name (ok maybe not quite) and expectations are high going into Grid of Points. From the very first moments those expectations are met. Harris’ voice is still battling with hiss for prominence, but this time it’s winning out handily, soaring in a heartbreaking lilt over “Parking Lot’s” somber refrain and soaking the album through with a confessional nature that pushes her past the markers of dreampop and noise that used to pen her in. There’s still that natural warmth that makes Grouper Grouper, but it seems over time Liz Harris has seen fit to let us further into her world with an intimacy that’s palpable in every moment of the new record.

It’s almost too bad that warmer climes and sunny skies are on their way because every inch of Grid of Points makes me want to hollow out a couch cushion and bunker down to weather frigid gloom for another few months. The album is, as is usual with Grouper, haunting in its ability to draw sadness out like a fragile divining rod. Even without the cocoon of aural foam and tape hiss that’s ever present, there’s a feeling that just Harris and a piano would command rapt attention for an album twice this length. If anything, the problem is the album’s brevity leaves the listener wanting more – needing Harris to commiserate and tug gently at the toothache of longing just a little while longer.

I’ll take what I can get though, and this is Harris at her best, showing an artist willing to evolve, even if that evolution is just a gradual peek from behind the curtain over time. If there’s a shred of sadness looking for relief inside of you, then Grouper is here to rub salt in the wound. The pain is real, but the sparkle is worth it.



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