Our recurring new music feature Origins gives musicians a place to share exclusive insights into their newest release. Today, Daniel Rossen of Grizzly Bear breaks down his new track, “Shadow in the Frame.”
Grizzly Bear singer and guitarist Daniel Rossen is finally releasing his debut solo album. Titled You Belong There, the LP is out April 8th via Warp Records and features the lead single “Shadow in the Frame.”
The genesis of You Belong There began with Rossen’s move to Santa Fe, New Mexico, where he revisited one of his childhood instruments by purchasing an upright bass, along with a cello. He also picked up woodwinds, learning just enough from playing cheap student instruments to understand the basics. This self-taught musical education allowed Rossen to perform almost all of the parts of the album himself, though he brought in Grizzly Bear bandmate Chris Bear to contribute to 9 out of the 10 tracks.
Rossen’s efforts are on full display throughout the dynamic instrumentation of “Shadow in the Frame,” which is propelled by the upright bass with flourishes of cello and ethereal woodwinds sprinkled throughout. On the track, Rossen contemplates the fleeting nature of mortality: “You will watch us flash and fade,” he sings. “And get torn apart/ This place wild beyond control.”
“There’s excitement but also, obviously, a heavy dose of anxiety especially when I try to imagine what life might be like for my daughter when she is older,” Rossen tells Consequence about the inspiration for the new single. “I started playing the changes for this song just before she was born. This song existed without words but as a tune that I hummed to her when she was an infant while I tried to calm her down. Eventually, I settled on a lyric that referenced that anxiety about her future, as well as the strange feeling of loving someone unconditionally who has yet to come into being.”
Check out “Shadow in the Frame” below, followed by Rossen’s full Origins of the track.
This spring, Rossen will head out for a 34-date tour of North America and Europe in support of You Belong There. Grab your tickets here.
There’s a lot of looking back on this album, but I also spent a lot of time thinking about potential futures, some that are possible and some that aren’t. There’s excitement but also, obviously, a heavy dose of anxiety especially when I try to imagine what life might be like for my daughter when she is older. I started playing the changes for this song just before she was born. This song existed without words but as a tune that I hummed to her when she was an infant while I tried to calm her down. Eventually, I settled on a lyric that referenced that anxiety about her future, as well as the strange feeling of loving someone unconditionally who has yet to come into being. It is slightly terrifying. That is not the only subject of this song, but it was certainly on my mind.
The Wizard of Oz Soundtrack (1939):
Old Hollywood and pre-rock ‘n’ roll music of the 20th century has always been something I’ve enjoyed. My wife rags on me and calls my DJ style “The Sounds of Now” while I spin Hoagy Carmichael and King Oliver’s smash hits from a century ago.
This soundtrack was playing in the house a couple years back (the child) and it is truly one of the weirdest things ever made. I like that it moves constantly. It’s incredibly over-arranged and also kind of flat, compressed, and two-dimensional. Definitely haunted.
At least when this song was in its early stage I was running a lot on a road in the foothills of the Sangre de Cristo mountains in New Mexico. I do a lot of pondering on those runs and sometimes musical ideas come to mind. I remember looking out on those hills and feeling like I wanted to draw a connection between the ebb and flow of the music in this song to the landscape around me, and to my body as part of that landscape.
I have aged pretty intensely in the last few years. Happens to us all, some of us faster than others. Because of my bizarre life as a band guy in my 20s, on some level, I never really had to grow up, and quite often I feel like a haggard teenager who is for some reason in charge of a three-year-old. It’s pretty insane. I think that energy is, for better or worse, all over this album. I kind of burned the candle at both ends to make it, staying up too late recording and fussing with the mixes in the early morning. It’s also a return to a lot of musical obsessions from my early life.