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Track List
01) Made of Metal
02) Clearing
03) Call Across Rooms
04) Labyrinth
05) Lighthouse
06) Holofernes
07) Holding
08) Made of Air
01) Made of Metal
02) Clearing
03) Call Across Rooms
04) Labyrinth
05) Lighthouse
06) Holofernes
07) Holding
08) Made of Air
1:38
4:41
2:59
3:47
5:44
1:32
7:56
11:24
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50%Total Rating
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First Released
2014
Experimental
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"Ruins" is the tenth studio album by Grouper, the stage name of American musician Liz Harris. It was released in the United States on October 31, 2014 on Kranky.
Upon its release, Ruins received critical acclaim. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album holds an average score of 80, indicating "generally favorable reviews", based on 19 reviews.
In 2018, Pitchfork ranked Ruins at number 18 on its list of the 30 best dream pop albums.
User Album Review
What happens in the margins of the music Liz Harris makes as Grouper is often as important as the music itself. In a performance at Krakow's Unsound Festival earlier this month, the rattle of a film projector added a layer of instant nostalgia to her murky swirls of voice and guitar. Much of the time, Grouper's music is so diffuse that there's no longer any distinction between center and margin anyway, no difference between foreground and background.
That is not the case on Ruins, the first album from the Portland, Oregon, musician since last year's The Man Who Died in His Boat. Here, the incidental noises—crickets, croaking frogs, thunder and rain, and, at one point, the unmistakable beep of a microwave oven that fired up after a blackout in the house where she was recording—serve primarily to underscore how stark the music is, unadorned and pocked with vast silences. Ruins is Grouper's "unplugged" record, essentially, as much as that might sound odd for a musician who has always put acoustic guitar and piano and voice at the core of her work. Here, however, she foreswears the looping pedals and the innumerable layers of fuzz that are just as essential to her aesthetic. What we're left with is achingly beautiful and, given the intensely private nature of most of Grouper's work—on stage, she often plays sitting down, crouched over in order to manipulate her effects pedals, her face hidden in shadow—almost unnervingly direct.
The emotional core of the album is the four melancholy songs for piano and voice, which are complemented by two instrumentals of a similar mood.
Reviewed by Philip Sherburne for pitchfork.com.
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Available in:
"Ruins" is the tenth studio album by Grouper, the stage name of American musician Liz Harris. It was released in the United States on October 31, 2014 on Kranky.
Upon its release, Ruins received critical acclaim. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album holds an average score of 80, indicating "generally favorable reviews", based on 19 reviews.
In 2018, Pitchfork ranked Ruins at number 18 on its list of the 30 best dream pop albums.
User Album Review
What happens in the margins of the music Liz Harris makes as Grouper is often as important as the music itself. In a performance at Krakow's Unsound Festival earlier this month, the rattle of a film projector added a layer of instant nostalgia to her murky swirls of voice and guitar. Much of the time, Grouper's music is so diffuse that there's no longer any distinction between center and margin anyway, no difference between foreground and background.
That is not the case on Ruins, the first album from the Portland, Oregon, musician since last year's The Man Who Died in His Boat. Here, the incidental noises—crickets, croaking frogs, thunder and rain, and, at one point, the unmistakable beep of a microwave oven that fired up after a blackout in the house where she was recording—serve primarily to underscore how stark the music is, unadorned and pocked with vast silences. Ruins is Grouper's "unplugged" record, essentially, as much as that might sound odd for a musician who has always put acoustic guitar and piano and voice at the core of her work. Here, however, she foreswears the looping pedals and the innumerable layers of fuzz that are just as essential to her aesthetic. What we're left with is achingly beautiful and, given the intensely private nature of most of Grouper's work—on stage, she often plays sitting down, crouched over in order to manipulate her effects pedals, her face hidden in shadow—almost unnervingly direct.
The emotional core of the album is the four melancholy songs for piano and voice, which are complemented by two instrumentals of a similar mood.
Reviewed by Philip Sherburne for pitchfork.com.
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