Greylag
(Dead Oceans)
Portland’s Greylag exists in a weird musical crevice — the band’s music is not exactly bluegrass, not exactly rock, and not exactly indie pop. Still, there are clearly identifiable elements of all those. Acoustic instrumentation, including mandolin, might kick off a tune which becomes a power chord-driven, percussion-heavy rocker. The vocals — often lightly delivered, usually high-pitched, lend everything a flavor that’s decidedly indie pop. Somehow, what could be a messy sonic identity crisis instead is a confidently played romp through a highly distinctive musical world.
Greylag sometimes wears its influences on its sleeve, particularly Crosby, Stills, Nash & Young, whose shadow looms in multi-part harmonies and in the loping, edge-of-distortion guitar style. Just as CSNY succeeded in crafting a surprisingly huge sound from sparse elements, Greylag often hits its stride in creating what might best be termed big music — the drums and bass move at a stately pace while guitar furiously unspools at double time, and the vocal lines soar above. It’s a lot of sound for just three guys. At other times, a more contemplative note creeps in — album closer “Walk the Night” is a backporch ballad, just one singer and one guitar.
If Greylag possesses a clear lineage, it’s in an unusual set of sounds that might include Nick Drake’s contemplativeness, Robert Plant’s rootsy brand of rock with Band of Joy, and Jeff Buckley’s unusual musical instincts. They manage a neat trick with their self-titled album (which was preceded by an EP), filling a musical niche that you might not realize needs filling until you hear them do it so well.
