Grouper Dragging A Dead Deer Up A Hill

Elaine Sutton
• Saturday, 12 December, 2020
• 8 min read

2008 studio album by Grouper Dragging a DeadDeerUp a Hill Studio album by Released June 10, 2008Recorded2007–2008 Genre Length45:41 Label Type Producer Liz Harris Grouper chronology Cover the Windows and the Walls (2007) Dragging a DeadDeerUp a Hill (2008) A A: Dream Loss (2011) Cranky reissue Dragging a DeadDeerUp a Hill is the fifth studio album by American musician Liz Harris under the stage name Grouper.

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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 ".

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2008,Electronic, Rock,Folk, World,Folk Rock, Shoegaze, Drone,Ethereal, Ambient,Experimental Liz Harris first two Grouper albums, Way Their Crept and Wide, consisted mostly of layers of her pristine vocals blanketed in drones, reverb, and distortion until they blurred into a blissful, and sometimes eerie, haze.

Fragile acoustic and electric guitars and the occasional keyboard also bring this album more down to earth than Grouper's earlier work, but the music never feels stifled or limited -- if anything, the added structure lets these songs take flight and reach peaks of beauty that Wide and Way Their Crept only glimpsed. Dragging a DeadDeerUp a Hill's soft, intricate layers have their roots in late-'80s/early-'90s dream pop (and the work of the Cocteau Twins and early His Name Is Alive in particular -- Home Is in Your Head could be this album's great-great-grandmother), but Grouper's take is looser and more organic; there's a reason many of the song titles feature nature imagery (“Heavy Water/I'd Rather Be Sleeping,” “Traveling Through a Sea”).

Condition: Country/Region of Manufacture: United States Record Size: 12" Style: Alternative/Indie, Experimental Rock, Lo-Fi Record Label: Cranky Duration: LP Genre: Rock Record Grading: Mint (M) Sleeve Grading: Near Mint (NM or M-) Speed: 33RPM UPC: Free shipping on all eligible items from speargoredrecords, when you use the cart to make your purchase.

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Summary: The third album for the Portland, Oregon-based indie pop singer Liz Harris. A psych-folk bent for harmonic discord and atmospheric dread finds something forever sinister lodged at the album's heart: the kind of beauty that makes sailors run aground.

This Liz, however, can still produce a satisfying forty-five minutes or so of 4AD-styled mysterious, drifting morphia (complete with acoustic guitars and pretty vocals), and that’s rare enough that Grouper are worth watching. Grouper craft a compelling listen with Dragging A Dead Deer Up A Hill.

From the first track, the vocals and the minimalist approach to their Grouper craft a compelling listen with Dragging A Dead Deer Up A Hill. From the first track, the vocals and the minimalist approach to their sound are haunting.

The production I thought was fantastic for being an independent record. Grouper managed to not only make a great record, but blow me away in the process.

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This is otherworldly and while it is influenced by shoe gaze, coming in 2008 it's a record that was miles ahead of the dream/lo-fi wave that This is otherworldly and while it is influenced by shoe gaze, coming in 2008 it's a record that was miles ahead of the dream/lo-fi wave that came out of the states in the years that followed. At the records core is a voice and acoustic guitar but it is far removed from a singer-songwriter album.

Swamped in echo and swirling reverb with some ambient synths mixed in the background, this is the music you hear when your lost in a dream or when your mind is altered so your surroundings are unfamiliar. This album hits the nervous system in a way that is chemical.

Be warned, it takes quite a few listens to get into as initially it all blended into one for me but as I revisited the layers revealed themselves. More commonly known as Liz Harris, she's become a real cult smash on the underground in the past 2-3 years and many of us here have been seduced.

I think this album has been out for years on Type but is HIGHLY sought after on vinyl. Many of her works are built around elements such as long, decaying, fuzzed-out drift 'n' drone washes, often with eerie, gliding disembodied vocals hovering spectrally in the ether.

There's a lot of hazily strummed acoustic guitar plus a deliciously weird chamber vibe throughout and her (beautiful) voice sounds multi-tracked & amorphous which adds a real air of other worldliness & mystique to proceedings! This is a more intimate song-based album than some of her ghostlier outings and I think there's definitely strong psych-folk elements to this record.

hill dragging dead deer record vinyl grouper
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I'd surely recommend it to fans of Christina Carter in that there's something beautifully ethereal yet very earthy & pure about this Woman's music. After rooms of portraits, full of delicate religious figures, historical depictions and general personages of import, the paintings suddenly, almost magically transform.

Instead of the staid, steady lines, the colors start to melt into one another; figures become absorbed into the landscape itself, the light and shade of everyday life taking prominence over historical or religious narrative. Perhaps part of the power of Impressionism is the way it approaches the individual; art suddenly becomes extremely subjective, the canvas becoming a means of conveying the artist’s particular ‘impression’ of a moment (perhaps the most famous example being Monet’s half-blind work at Given) onto the viewer.

Portland resident Liz Harris) new record, Dragging a DeadDeerUp a Hill, can simultaneously be one of the most delicate, affecting albums of the year, and, yet, at the same time have such a strange, menacing name. The emotion that predominates throughout is that selfsame exploration of slipping into the shadows, into the nether spaces between states: three of the song titles reference transitory motions (‘Sleeping’, ‘Travelling’, ‘ Dragging ).

Album opener ‘Disengaged’ starts with a furious wall of roaring noise that gradually subsides as the track gives way to the extraordinary fragility of ‘Heavy Water/I’d Rather Be Sleeping’. Indeed, the opposite is true, Harris’s unintelligible lyrics drifting in and out of the songs, each track based more around rhythm than traditional ‘loud-quiet’ structure.

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In then Aufnahmen, die she each we VOR MIT einfachsten Mitten außerhalb traditionally Studios producer, exhaust such Grouper dimmer wider plane Feeler UND Moment her Still. In our age of ubiquitous talent-show triteness the groan-inducing combination of voice and acoustic guitar has steadily become a fragile gossamer, often disguising deathless, binary expressions of corporately monopolized “sadness”.

The brainchild of writer and performer Liz Harris, 2007’s Dragging a DeadDeerUp a Hill finds infinite complexity within alarmingly familiar boundaries; a body of work so uncomfortably intimate it feels as if your own psychic anatomy has been placed under the microscope. Having grown up unconventionally in northern California as part of a Fourth Way commune which encouraged self-reflection, solitude, and awareness of one’s place in the universe, her community, simply known as “The Group”, seems to have provided a structure to both subsume and rebel against.

Adopting the moniker of Grouper in reference to the secret nicknames developed amongst her childhood peers, her music has become awash with the distortion of imposed parental boundaries, yet draws heavily on quintessential Fourth Way themes, including the oddly Lynching notion that the unenlightened live in a constant “waking-sleep”. Feeding raw performances through an endless maze of saturated echo and thick blankets of distortion, each composition dwells hidden in plain sight, as if trapped under sheets of ice or entangled amidst the undergrowth; perceptible yet evasive forms which swell and dissipate swiftly.

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