Grand Archives The Grand Archives WB rating out of 100

When Mat Brooke left Band of Horses just as they were beginning to attract a fair bit of attention, there were understandably a few heads turned. After all, why would you want to leave a band at the beginning of their rise to fame? Listening to the debut album of his new band Grand Archives, however, the reason becomes clear – Brooke has a few artistic goals of his own, some that are seemingly not in line with his ex-band mate’s Ben Bridwell, with whom he was also a member of Seattle cult favourite Carissa’s Weird. Those expecting Grand Archives to sound like Band Of Horses are going to be disappointed. Brooke’s band is more restrained, less epic, and doesn’t have the immediacy of Bridwell’s outfit, although they do have a subtle charm of their own. Grand Archives’ self titled debut album is sleepy, winter by the fireside, freshly brewed coffee music – its one of those records where locale seems very important, and Seattle’s rainy climate appears the right locale. The Grand Archives sounds very wet, but not in a depressing way at all – it’s more of a lush green effect.

‘Sleepdriving’, in particular, demonstrates this quality. The reverb plentiful intro recalls the sound of rain falling against a tin roof, the guitar picking having that particularly haphazard rhythmic quality to it. The entire song sounds muffled, as if it was coming from outside, drifting through countless trees before it reached you. The effect is both beautiful and soothing, a bit like the period that grips you before sleep, where disorientation is comforting rather than distressing. Indeed, the fadeout coda to ‘Sleepdriving’ becomes rather like a lullaby, as a choir of disembodied voices sing hypnotically, “Sleepdriving away/Frozen roads and run”. So enshrouded are these voices in reverb, they becomes ghost-like as they bounce off one another.

It is vocal harmonies such as those heard on ‘Sleepdriving’ that form the bedrock of Grand Archives’ sound, and the way the band sings together has a definite air of understatement to it. These guys seem to whisper rather than project, and there is something refreshingly enchanting about that. It may take a while before there songs get through to you, but this is due to subtlety rather than a lack of tunefulness. ‘A Setting Sun’ is a perfect soundtrack song because it can frame a moment or a theme, without distracting. This slide guitar based track is thoughtfully arranged, and its pleasures lie in the detail; the interaction between guitar parts and the precision on the vocal performance.

Likewise, ‘George Kaminsky’ quietly seduces with its ethereal harmonies, which are so effortless in their grace. This is music that rewards familiarity rather than shooting for instant satisfaction, that is best heard softly and not from blaring speakers. There is really only one song on The Grand Archives, an up-tempo number, which is immediately grabbing, ‘The Crime Window’. It is the sole track that could accurately be described as a rocker, and even it has a murky sound, with its dirge-like guitar (appropriately Seattle). This song, however, provides the necessary departure from Grand Archive’s signature sound, showing the band’s diversity and also providing something of a contrast to the rest of the album. Sometimes, black against white can be more effect than white, white, white, white.

It’s always good to see somebody rewarded for taking a risk, as Brooke most certainly did when he quit the anthemic Band of Horses. Bridwell may have moved back to his childhood home of South Carolina, but Brooke remains ensconced in Seattle, and The Grand Archives is a record that reflects the reality of its creator’s situation, in the winter warmth of its production and the quiet determination of its songwriting. This is a most stalwart record.