Review: In Ear Park

Department of Eagles

Too often, critical comparisons can feel painfully simple: too obvious, too easy, negligent and unsophisticated in detailing the similarities, contrasts and intricacies of the artists’ bodies of work. Groups such as The Arcade Fire, Sufjan Stevens, and The Flaming Lips have saturated too many critical responses in recent years; and whilst arguably this simply represents their unique perspectives and periodical influence, regularly such analysis is merely lazy and undemanding – both of the critic and his audience. Conversely, some comparisons are unequivocally natural and hence unavoidable, such as measuring artistic development between albums, the strength of two artists’ viewpoints in collaborative works, or highlighting rip offs or cross-genre equivalents. Unfortunately, in the case of artists moving between projects, whose movements under a fresh moniker represent a sincere attempt to attain artistic and critical differentiation from their previous output, the comparisons are not only natural but habitually the first question everyone wants answered.

So yeah, if you had a giant musical sorting device, Department of Eagles’ In Ear Park would probably land in the same bucket as the rest of Grizzly Bear’s output, which is expected when ¾ of the band contribute, but you’d be foolish in assuming that their relationship was as simplistic as their rosters may suggest. Consisting of Dan Rossen (of Grizzly Bear) and NYU roommate Fred Nicolaus, Department of Eagles released their first record The Cold Nose in 2003. Relying on understated electro loops and sound fragments, the record effortlessly managed a clever folk-pop sensibility, despite scarcely hinting at the powerful gravitas of Rossen’s instrumental and vocal prowess displayed on Grizzly Bear’s stunning Yellow House, and more particularly, 2008 highlight “While You Wait For The Others”. Whilst the five years since has done wonders for Rossen career wise, it has also aided the collaboration between him and Nicolaus, clearly affording the pair with greater emotional and musical maturity and dexterity, resulting in a much deeper, more focused and remarkably beautiful sophomore release.

Whilst immediately satisfying and accessible thanks to the intensely gifted songwriting, In Ear Park unquestionably rewards multiple listens, particularly on a pair of headphones. Crafted from innumerable charming layers of guitar and tight vocal harmonies, some of the album’s best moments are hidden amongst the beautifully worked arrangements; such as the careful swell of syncopated percussion, delicate electric piano and swirling clarinet on “Around the Bay” or the wealth of textures that causes “Waves of Rye” to unfold and envelope the listener. This is perhaps In Ear Park’s greatest success, pushing and pulling with such astute melodic and emotional complexity; climaxing ferociously without becoming cacophonous, regressing with fragility but never sounding weak, Department of Eagles expertly handle the intimacy and delicacy of their work, where lesser bands would succumb to stereotypical exaggeration. This honesty perfectly reflects the nostalgic yearnings of the record’s themes; lyrically full of anxiety and wistful memories, producer Chris Taylor (also from Grizzly Bear) flawlessly captures the innocence underpinning all eleven tracks. Despite being somewhat jarring at first, and seeming unnecessary, Taylor’s alternative sonic conditioning of Nicolaus’ sung numbers “Teenagers” and “Classical Records” merely pulls the textured pianos and reverb inspired haze to the front of the mix, supporting Nicolaus’ vocal delivery. Conversely Rossen, who would sound great singing into broken headphones, is given plenty of room to move, his voice both grandiose and reassuring, beautifully demonstrated upon the sublime melodic ease of “Floating on the Lehigh” and first single/album opener “In Ear Park”.

Dedicated to Rossen’s late father, In Ear Park may not be a positive album, but nevertheless it feels perfect in accompanying the growth, the light, and the unsullied movements of spring. Despite feeling the cold affects of mortality, Rossen and Nicolaus have fashioned a record inspired and wholly appreciative of each and every day, where preceding mistakes or failures will never matter as much as the those memories in which we are at our happiest. In turn, comparisons become useless, and it becomes clear that it doesn’t matter which project you’re part of, or which record is better, or if you have hints of The Arcade Fire or Sufjan Stevens in your work. All that matters is this day, this moment, this record – if you’re looking for good memories, In Ear Park is an ideal place to start.


+: Beautiful instrumentation and arrangements, Rossen's vocal delivery, deep listening experience that continues to reward
-: Nicolaus' voice isn't very strong, the unnecessary interlude "Therapy Car Noise", the album can blend into itself

Phantom Other - Department of Eagles