Grizzly Bear is romantic, emotional, dreamy and sincere. It combines the quirkiness of Animal Collective in the form of a Syd Barrett solo project.

Ed Droste started Grizzly Bear music as a pet project meant only for friends, but it has taken on a life of its own, circulating widely. During a long fifteen-month hibernation in his cozy Greenpoint apartment, Droste laid the groundwork for Grizzly Bear's first album, Horn of Plenty. Upon completion of this "demo," Droste enlisted the help of a real bear, Christopher Bear, who breathed new life and sounds to the work. The result, Horn of Plenty, is a nostalgic amalgamation of found sounds and layered vocals bound to thrill fans of Sufjan Stevens, Nick Drake, Animal Collective, and the Unicorns.

With their debut album out now on Kanine Records, Grizzly Bear has been spreading their gospel as a live act with the addition of Chris Taylor to the group. Playing reeds and electronics, his talents have lured Grizzly Bear out of hibernation, and into the world as a living, breathing animal. With three voices, guitar, clarinet, percussion, and colorful effects, Grizzly Bear's live sound maintains the dreamy, subdued qualities of "Horn of Plenty", yet explores a more electric and psychedelic path, leading to a dynamic and mesmerizing concert experience.

"The Grizz offer tender and creepy folk mantras that function as a Paxil substitute or antidote, depending on your disposition." Spin Magazine

"The gentlemen of Grizzly Bear paw around in wholly distinct regions of gentle, nocturnal psych-folk, conjuring visions of an imagined bedroom collaboration between the Doug Yule-era Velvet Underground, Nick Drake, and a pajama-clad Pooh with his head jammed in a honey jar." Pitchfork Media

"Grizzly Bear captured its etherized folk on the beautiful Horn of Plenty (Kanine), a dreamy, evocative record taht sounds like it was recorded a mile below sea level." Time Out NY

"Dreamy vocals and pillowy, guitar-driven effects that evoke Neil Young on cough syrup."
V Magazine

"Music Syd Barrett might've made if he'd been given Pro Tools instead of tranquilizers"
NOW Toronto

"It's a mellow and dreamy lo-fi record ...Horn Of Plenty is a solid and interesting indie singer-songwriter album and one of the better local releases in recent memory" Other Music

"Cerebral, somnambulistic, and intensely introspective, it’s a hushed amalgam of Brian Eno, Nick Drake, and early Pink Floyd...This is the perfect companion for a long, cold winter, even if you live in a warmer climate." OUT

"Slipping into the scene somewhere between new folk and art pop...Grizzly Bear's debut is whistful, spare, and precious without sacrificing accessibility." City Magazine

"The lo-fi psychadelic drift of Grizzly Bear's debut may have you thinking more often of classic space-cases like Syd Barrett and Skip Spence." Time Out NY

Grizzly Bear...a soundtrack for your winter hibernation" The Deli

"They plug in, and their record comes alive like Peter Frampton: They cut into long, elastic relationship laments with a roar of guitars, much louder than ont eh record."
Pitchfork Media (live review)

"The borough of Brooklyn is home to a steady supply of boys in their bedrooms thumbing through ProTools manuals and struggling to fulfill their Ted Leo dreams. Sometimes their music's bad. Fans know that if you've heard one sadsack rocker ramble, you've heard it a zillion times. But occasionally, Brooklyn boys get catharsis just right. Take Grizzly Bear. With only two live performances and Horn of Plenty, a collection of muffled, melodic ballads under their belt, they're about to become the most popular new band you've never heard of." Nerve.com

"Grizzly Bear combines the whispery echoes of the forest with the hauntingly mad lyrical genius of Syd Barrett." Crashin' In

"The result is an album of gorgeously lo-fi new folk, like a blend of melancholy Clem Snide demos produced by Brian Eno wearing his Another Green World hat and the electronic/acoustic mesh of Jud Ehrbar's Reservoir recordings, with dashes of Syd Barrett acid-washed weirdness and Mark Eitzel's heart-piercing muse." Amplifier Magazine

"Horn of Plenty is the rare Brooklyn album that rises above its Brooklyn hype perhaps because its inspiration can be found in the wooded areas of New England, and not the converted loft spaces of Bushwick. Or maybe it’s the adventurous and playful nature of the recording that grabs the listener. Either way, Grizzly’s music matches adult heartache with a childhood whimsy that makes the album more than auspicious. That kid who never leaves his bedroom has finally made something of himself." Stylus Magazine

"All in all, though, it's not quite freaky enough for “freak-folk.” For all his weirdness, Droste's instincts as a songwriter are a little too pop for the self-consciously offbeat genre/catchphrase every critic seemed to swoon over this past year. Just when Grizzly Bear’s aural molasses threatens to overwhelm, an endearingly lively instrumental break or jaunty Britpop bassline interrupts their hibernation dreams." The Harvard Crimson

"While Horn offers a platter of slightly twisted songs recorded written mostly by Edward Droste, Grizzly Bear’s current incarnation has grown to embody a more complex sound, marked by diverse instrumentation, four-part vocal harmonies, and loosely expressive drumming, skirting the territory between My Bloody Valentine, free jazz, and Tyrannosaurus Rex."
Dusted Magazine

"Don't miss the beatiful folk psychedelia of Grizzly Bear, playing in Williamsburg this Sunday. Local label Kanine Records strikes gold again with this great up-and-coming band."
Free Williamsburg