It was released on June 10, 2008, on Type Records. The album was later reissued alongside Grouper's The Man Who Died in His Boat in 2013 by Cranky.
Professional ratingsAggregate scoresSourceRating Meta critic 80/100 Review scoresSourceRating Music Drowned in Sound 9/10 Mojo Pitchfork 8.2/10 Formatters 9/10 Mike McGonagall of Pitchfork described Dragging a DeadDeerUp a Hill as “druggy and sexy and arty and pretty, but never pretentious”, calling it “an arresting album of pastoral psychedelic pop “. In 2018, Pitchfork ranked it at number six on its list of the 30 best dream pop albums.
“Fishing Bird (Empty Gutted in the Evening Breeze)”3:517.” Invisible”3:558. “I'm Dragging a DeadDeerUp a Hill “2:219.
“We've All Gone to Sleep”3:03Total length: 45:41 ^ “The 30 Best Dream Pop Albums”. “Grouper: Dragging a Dead Deer Up a Hill ".
^ “Grouper: Dragging a Dead Deer Up a Hill “. Strong melodies and actual songs always lurked deep inside-- or perhaps underneath-- the music of Liz Harris' Grouper, but you had to work to hear them underneath layers of sonic muck; here, she strips away much of the effects-laden gauze and the result is an arresting album of pastoral psychedelic pop.
Liz Harris, who does business as Grouper, strips away much of the effects-laden gauze of her earlier work on this, her third proper album. Laconically strummed acoustic guitars and gently plunked pianos serve as the primary instruments, abetted by ambient washes and echo boxes (which this time are not all set to 11).
Beyond that, though, it's about as exact as comparing KISS to the Amongst- both those bands were loud and made records in the mid-1970s and had lead singers who were dudes, but that's about it. This remarkable album is actually what I personally always wanted 4AD records to sound like, only they never quite delivered the hazy pleasures their beautiful sleeve art promised (except Kurt Raise's rock band Ultra Vivid Scene).
On “When We Fall” and “Invisible”, Harris sounds like Vashti Bunyan singing in an echoed hallway. Others bear some resemblance to the band Clay Allison (who later became Opal and, in a different configuration, Jazzy Star) ca.
But I kept seeing these small dirt storms form out in the plowed fields to the left while the lovely “Fishing Bird (Empty Gutted In The Evening Breeze)” played on repeat. I'm not sure this album is the perfect road trip music for everyone-- I'd certainly caution against playing it late at night when you're already sleepy, or operating other heavy machinery as it plays-- but since these songs seem to appear and then vanish into the air, the mini-tornadoes gathering themselves together lazily out of the wind and the dirt seemed the ideal, hypnotizing accompaniment.
Her spooky, ethereal and surreal sounds are based on her acoustic, often avant-garde guitar plucking and her quiet, hazy vocals.