Grouper - Grid Of Points (Album Review)

 

Grouper - Grid Of Points

(2018)

My copy: 2018 press by Kranky.

Liz Harris followed 2014’s impressive Ruins four years later with this short LP that is devoted entirely to piano lullabies. Harris’s production and confidence as a writer have both been significantly elevated, though Grid Of Points rarely innovates on its main premise.

After a brief introduction of sweet self-harmonization, “Parking Lot” shows off a newfound affinity for concise, reflective piano pieces with more active vocal performances to show off Harris’s now spotlighted range. While the sound quality is far from the desolate, lo-fi droning of her other records there is still an ever-present background noise that heightens the emotional intimacy, as if Harris were in the room spilling her heart directly to the listener. “Driving” returns more openly to melancholy progressions and is noticeably patient, bordering on lethargic as a bittersweet motif eventually shifts into focus. Harris’s voice is perfect for these slow piano ruminations fortunately, working this sleepy pace into an asset.

Up until “Thanksgiving Song” Grid Of Points features some of Harris’s most intelligible lyrics yet - with the aforementioned track resorting to her usual tactic of utilizing delay so that her voice ascends into a haunting loop, as if it were constantly shedding a skin of sorts. The lyrics are frequently lost in whispers or swallowed by ambiance, but this more vulnerable side of Harris is very much welcome. “Thanksgiving Song'' also introduces subtle dissonant moments that are delivered with such confidence that they pass over with a ghostly transience. Harris’s voice battles the sour piano movements of “Birthday Song,” ensuring the warmth of her soothing, ghostly calls are ever willing to comfort listeners. 

“Blouse” slowly rises, mustering courage for its sighed catharsis. The vocals tip-toe in unison with the piano on “Breathing” before assorted vehicle samples take the album to its conclusion. Grid Of Points is as mysterious and lustral as her other efforts, maintaining a sort of spiritual regency that comes with a voice that is so spectral. This record isn’t overly long, but does stagnate slightly near its conclusion. Harris’s output is best when she features a mix of piano ballad and signature ambient experimentation, meaning Ruins is a better choice for fans who desire a more comprehensive guide to the artist’s work. Grid Of Points is still a great little album for those seeking minimalist piano lullabies to play on gray, rainy days.