Daniel Rossen doesn't release music on his own frequently, but when he does, it's special. He recorded his 2012 EP
Golden Hour/Silent Mile by himself when those songs wouldn't fit on a
Grizzly Bear album, while 2022's
You Belong There was made largely in solitude due to the global COVID-19 pandemic. As on
Golden Hour/Silent Mile,
Rossen sounds liberated, not constrained, on his first solo full-length. In the best possible way, he sounds freed from expectations, and to say that the album sounds like a natural extension of his work downplays how exciting it is.
You Belong There blends the darkly winding melodies of flamenco and Middle Eastern music, the wide dynamic range of modern composition, the pastoral sparkle of early-'70s symphonic folk, and the challenging, ever-changing song structures of
Grizzly Bear albums like
Shields. That
Rossen created most of this stunning instrumentation on his own -- even learning how to play the clarinet that flutters through each of its tracks -- is impressive, but the passion he brings to
You Belong There is even more so. The album feels more nimble and less guarded than
Grizzly Bear's later albums, and the momentum of
Rossen's playing and compositions don't get tangled up in their complexity. "It's a Passage" sets the tone for the rest of
You Belong There, with sweeping, shimmering guitar work and
Rossen's immediately recognizable, vibrato-heavy vocals creating a ghostly, desert-like atmosphere complemented perfectly by
Grizzly Bear drummer
Chris Bear's intuitive rhythms. Even as he grapples with life and all its changes on songs such as "The Last One," the commitment
Rossen brings to his twisting, shifting songs makes them worth following, whether they take the shape of "Shadow in the Frame"'s sienna landscapes or the unearthly union of cosmic synths and bustling acoustic guitars on "Keeper and Kin." An old-school album meant to be listened to as a whole,
You Belong There almost feels like a rebuke to indie music's embrace of mainstream pop, particularly on dazzlingly intricate pieces like the title track and "Unpeopled Spaces." With this album, he's challenged himself to make something so personal and ambitious that it finds an audience precisely because it's so extraordinary. It's a challenge that anyone who's been a fan of his music in any incarnation should accept. ~ Heather Phares