Interview: Daniel Rossen (Grizzly Bear)
As one of the driving forces of Grizzly Bear, Daniel Rossen has left an undeniable mark on indie rock throughout the 21st century with his distinct songwriting, vocals, and guitar playing. That intoxicating skillset is likewise evident throughout his excellent debut solo LP, You Belong There (out April 8), an album that ably straddles the line between familiar and innovative — precisely the kind of forward-thinking work that music fans would expect from one of our most talented artists.
Taking a break from the road as he winds his way to The Orange Peel for a fully seated show on Sunday, April 3, Rossen spoke with Asheville Stages about the record’s development, experimenting with new and old instruments, and the latest on Grizzly Bear.
Edwin Arnaudin: You’ve been to Asheville a few times. What about the city, from a performer and visitor side, stands out to you?
Daniel Rossen: Well, obviously, that part of the country is so beautiful and that probably stands out to me first. But I’ve always gotten the impression that Asheville is a bit of a safe haven for outsiders from other parts of the South, and that it’s the kind town that loudly displays its alternative culture in a way that’s particular to that kind of safe haven. I’ve always found that to be a charming quality, and it’s always a warm place to return to.
EA: In general, how have you fared over the past two years? What’s kept you optimistic and motivated, both personally and professionally?
DR: I can’t say I’ve felt terribly optimistic in the last couple years, and this album probably reflects that, for better or worse. But I will say that the intensity of the isolation of the pandemic, along with the overall uncertainty we’re experiencing in our politics, in the climate, in the pandemic, etc., has driven me to focus on the small areas in my world where I can be productive and contribute something good. So, mostly that meant focusing as hard as I could on finishing music to share with people, since that’s still probably the best thing I can give to others at the moment.
EA: What new skills have you developed during the pandemic that might not have arisen in the same way (or at all) had circumstances been different?
DR: I had studio time booked for April of 2020 to get out to LA and work with some string and horn players and hopefully get going on an album. Obviously, that didn’t pan out. So I had to readjust my approach and I started collecting some cheap instruments — an upright bass, student model clarinet and tenor saxophone — partially out of curiosity and partially so that I could work directly on arrangements for the music I was making. I do think it ended up changing the overall sound and direction of the album, and, at this point, bowed upright has become a pretty central character in a lot of the music I’m working on.
EA: What criteria do you use to decide whether one of your songs is a Daniel Rossen song or a Grizzly Bear song?
DR: In the past, I’d say that mainly had to do with how personal I felt the content of the song was and whether it was something that was stylistically appealing to the rest of the band. The rule with GB, especially on the last album [2017’s Painted Ruins], was to try and make sure everyone felt content and involved as much as possible. So that often meant focusing on material that was intentionally inclusive, and especially given my set of roles in the band, not particularly focused on my own experience or personal musical interests.
EA: I’m curious about your use of woodwinds on You Belong There. Why did you pick clarinet and sax, and did learning how to play them spark an interest to pursue playing any other woodwind instruments?
DR: The clarinet I played a bit as a kid, so it wasn't a huge stretch to get comfortable enough with it to cobble some simple parts together. The saxophone is much more challenging, and I'd say I was barely functional enough with it to make it useful. It of course feels ridiculous to try and play these instruments myself when I worked for years with a phenomenal horn player, Chris Taylor, in Grizzly Bear. But I was curious to see where I could get and what it might sound like, and I love how physically different the experience of playing an instrument as foreign to me as a saxophone could be. So, much more like an extension of the voice. I think it slightly changed my approach to melody on the album.
EA: In what ways are you already seeing the artistic/creative gains made on You Belong There seeping their way into new Grizzly Bear songs?
DR: Well, at the moment there is no GB album in the works as we are all working on separate projects. So for now, any development that comes from this album will contribute to more solo work or other collaborations outside the band. If anything, the degree to which I agonized over small details on this album makes me want to build an album much faster the next time. This is probably an impossible task for me, but it seems worth thinking about to see where it might lead.
EA: Lastly, as you’re about to embark upon this solo tour and return to the world of performing, what thoughts and emotions are you experiencing and how do they compare with the way you usually feel heading into a tour?
DR: Oh man. Well, I’m doing the U.S. stretch of this tour totally on my own. I didn’t bring anyone with me; I’m driving myself. It’s already been wonderful to reconnect with fans and play music again for people after all this time — I love how direct this kind of show can be. And the new songs are challenging in a way that I find really gratifying and engaging as a performer.
But I will admit that leaving home this time was about as painful as any time I can remember. I got in my car with my gear and drove away from my wife and three-year-old daughter in Santa Fe, and then spent the first few hours driving through sheets of tears in the New Mexico/Texas desert. It was brutal. But the upshot of that is a confirmation of how much I love and value the people closest to me, so I’m trying to carry that with me as I continue on around the country on my own.
IF YOU GO
Who: Daniel Rossen
When: Sunday, April 3, 8 p.m.
Where: The Orange Peel, 101 Biltmore Ave., theorangepeel.net
Tickets: $33 advance/$35 day of show
(Photos by Amelia Bauer)
