PRESS

Golden Bear

Slightly Confusing to a Stranger
http://sctas.com/2.0/GoldenBear.html
FACT: "[Golden Bear's] songs are some of the best you'll hear in your whole cotton pickin' life. Their shows are truly a sight and sound to behold". I didn't say that - I read it. And all I can be expected to do is agree and forward the facts to whoever cares to read them. Golden Bear are rock and celebration - a single spark that followed a blessed fuse all the way back to a gigantic barrel labeled "once in a lifetime".

Excitement feeds my body - this Golden Bear album has done her job. Here is an album that is just 2 philips head turns shy of being air tight, but it's that minimal space in the entire production that gives Golden Bear her human nature. Golden Bear is an album made by able beings, beasts and best friends. What I have experienced here is a collaboration of musical talent by which the love of songwriting & performing has carried an extraordinary album into a place beyond the unknown. I have heard the call for "Ten Thousand Orchestras", and I gave no fight when prompted to sing along - at peak volume - driving alone in my car. On this track alone, there is a distant sound of an arcade game as drums & guitar lure you inside. Once inside, the festivities begin - and you are surrounded by all of your best friends whom you've never met. Exactly 3 and one half minutes of your life have been documented, sealed and fulfilled as a chorus of gentle doves repeat "Ten Thousand Orchestras" atop a fanfare of drums, guitars, horns, kazoo, synths, keys and a fitting guitar solo. "It'd be nice to go to heaven, but first I'd like some songs" - charming, brilliant and so much fun. "Santa Rosa" follows a couple of songs later and dares the listener to keep up, leaving a trail riddled with percussion and layers of keys hoping we can make it to the end.

I mean - who the hell are Golden Bear and where have I been? The documentation that is given with such an album states "There's no hype; there's no buzz; there damn sure ain't no popularity". How the hell is such a thing possible? Golden Bear have just given me every reason a band could give for tracking them down and screaming "thanks so VERY much!" right in their pretty little faces. So - go right ahead and put these sounds on and allow the temptation to pick up any kitchen utensil, stray trash can lid or half jar'o'nuts and join right in to take over your worries - it's worth every drop of sweat that escapes your filthy pores. "A Reason to be Proud". Yes. --- Kaleb

Austin American Statesman
http://www.austin360.com/music/content/music/stories/2006/07/20cds.html 4 STARS
There always will be a market — mass, cult, whatever — for indie rock this vibrant, harmonies this close and feelings this good. Austin's own Golden Bear has a sonically mid-fi quality that, at first listen, seems to smear together the details of its rushing power pop. But your head adjusts soon enough, and suddenly the clarion-call trumpets, piano magic and fuzzy-wuzzy guitars that aren't above breaking out a quick, wheedling solo spring into focus. After all, songs this strong generate a motion and power of their own, powered by a seemingly endless wellspring of hooks and asides. Some of the tunes feature as many as 10 folks banging on trash cans and fooling with the space echo, which certainly will remind some people of ultra-hip pop collectives such as the Arcade Fire. What's really impressive is that Golden Bear easily can give the sainted Fire a run for the money in tunes, energy and sheer exuberance.
(Golden Bear plays a free show at 7:30 p.m. Friday at Pfluger Park in Pflugerville.) --- J.G.

Ew.com Download This:
http://www.ew.com/ew/article/commentary/0,6115,1219375_4_0_,00.html

GOLDEN BEAR, ''TEN THOUSAND ORCHESTRAS''
Indie-rockers Golden Bear take their grizzly moniker seriously: There's a drawing of a bear with wings and a shield on the cover of their self-titled debut LP, and their website's background image features a drawing of a guitar with a big bear bite chomped into it. I don't think this song — with its dreamy chorus, trumpet blasts, and bluesy guitar solo — has much to do with honey-loving furries, but it's likely to please fans of bands like Modest Mouse and Built to Spill all the same.

Pitchfork ("Santa Rosa" Free Download)
http://www.pitchforkmedia.com/article/download/37676/Golden_Bear_Santa_Rosa
Golden Bear doesn't claim to have the patent on unironic, super-melodic, over-the top indie rock, but after hearing their debut record, you might find yourself making that claim for them. Produced by Erik Wofford (Voxtrot, Explosions in the Sky, the Black Angels), the album sparkles with grizzly goodness from beginning to end, and features contributions from members of Voxtrot, The Black Angels, and Tia Carrera, as well as Will Oldham cohort Pink Nasty and pedal steel legend Lloyd Maines. "Santa Rosa", the fourth track from the LP, features an addictive Wurlitzer riff paired with an irresistible booty-shakin' beat and builds into a triumphant call for celebration. With one foot in the forest and one foot resting firmly on the rings of Saturn, Golden Bear reaches to the heavens with all its earnest might. RIYL: the Flaming Lips, the Who, Built to Spill.

AAM
http://www.aampromo.com/golden.htm

In 2005 indie rockers across the globe buzzed about a series of “wolf” bands. With bands like Bears and now Austin, TX-based Golden Bear releasing delightful pop albums, we at AAM have declared 2006, “The Year Of The Bear.” The aforementioned Golden Bear is lead by songwriter/guitar player Chris "Grizzle" Gregory. He is joined by Matt Gardiner and labelmates Tom Marshall, Brent Pennington, Andy McAllister, and Jamie Reaves all of The Channel. Golden Bear’s debut album also features contributions from members of fellow Austin bands including Voxtrot, The Black Angels and Tia Carrera and Will Oldham cohort Pink Nasty.

Co-produced by Erik Wofford at Cacophony Studios [My Morning Jacket, Explosions in the Sky, The Octopus Project], the album kicks off with the Mass Romantic-era New Pornographers influenced track, “A Reason To Be Proud.” The song is the perfect combination of the band’s fuzzy, hook-laden pop, balanced with just the right amount of sugar. Continuing in the album’s perfectly sculpted arrangements is “Ten Thousand Orchestras.” The song features horns that show up in just the right spots, gritty guitar riffs, and resounding piano chords that along with lush vocal harmonies will effortlessly captivate listeners. Other standout tracks are “Golden Bear Revival Stomp” and “Amazing Edward” which are layered pop-songs that will without doubt win over fans of Belle And Sebastian, Concretes and Camera Obscura.

Golden Bear’s debut is a sincere, charming and lovingly crafted album that leaves these Bears from Austin poised for big things. Their optimistic anthems are immediately accessible and become even more impressive upon repeated listens.

Babysue
http://www.babysue.com/2006-August-LMNOP-Reviews.html#anchor2148

An excellent debut album. Austin, Texas-based band Golden Bear sounds something like a cross between Harper's Bizarre, The Flaming Lips, and Chris Stamey. The folks in this band write and record effervescent pop music that is hummable, dreamy, and extraordinarily uplifting. This is a short album clocking in at just over 35 minutes. In our minds quality is more important than quantity...and in terms of quality, you get a lot with this one. These tracks were lovingly recorded with attention to detail...but it's the soaring vocals that really push this music over the top. The sound quality is an interesting blend of lo-fi techniques mixed with thick fuzzy guitars and layered vocals. Golden Bear is easily one of the more intoxicatingly friendly pop bands to emerge in 2006. Groovy cuts include "A Reason to be Proud," "Ten Thousand Orchestras," "Lady Soul," and "Amazing Edward." Great stuff. Recommended. (Rating: 5++ out of 6)

Transform
http://www.transformonline.com/music/reviews/004873.php

How do you deny rock? Especially when you're a 20-something boy from the Midwest with a penchant for fast food, video games, and the girl that got away? I think it's relatively unheard of. Granted, there's still the kids from the big city pushing their hip hop eight mile dreams, but even they will tell you that the sound of a unchained guitar and a couple o' nice AC/DC riffs – or maybe even a little Zeppelin – can definitely feed that testosterone urge. The manly grit of teeth and feet stomping / car singalong that everyone – no matter how much of a sad sap they are – can deny. It feels good to rock: it's a nice fuzzy distorted feeling in the chest where one realizes that Kiss were right, I _do_ want to "rock and roll all night and party everyday!" I believe it is in that unhindered place of love for rock that a band like Texas natives Golden Bear live.

Right from the get go, the first five tracks of this album are an exuberant collage of all the best mixings of classic rock that has come before. You hear The Who's scrawling anthematic riffs, the pounding heavy drums of classic Zeppelin, and the piano-driven rock of The Band. It's a big meaty stew of music, really, and an incredibly startling, unique experience upon repeated listening. I'll be honest: I didn't really like this disc all that much when I first heard it. It was almost too sure of itself, and that can be a turn off as a first impression. But what is rock and roll without a little bit of ego? If you're going to really bleed it and know it, you gotta say "I know we can do this." The band's gotta live it through the music, and for all intensive purposes Golden Bear do. Golden Bear have that drive, the right hooks, and the right attitude of a rock band. This record is overloaded with hip shaking singalongs and the right amount of classic stylings to make them a present day kick ass rock band. No joke.

Chris Gregory knows it: the songwriter / guitar smasher has a vision for this group and a purpose. It's apparent in his ability to keep up with his fellow band members, as his songs are balanced by an above all excellent set of sticks from Andy McAllister and keys work from Matt Gardiner. "The Saddest Songs" features an interesting choice of vocal accompaniment in the form of Will Oldham cohort Pink Nasty, as well as an excellent appearance by Dixie Chicks dad and pedal steel legend Lloyd Maines.
The band had a definite idea of what they set out to achieve from the get go, and Golden Bear make it apparent from start to finish. There isn't a bad tune to be had here. These guys are out there somewhere: hips swaying, fists pounding, the legend of rock living and breathing, showing them all why it's so important that such a scene should be repeated across the country. There's nothing better than the rock that drives us: you can't deny it, and Golden Bear know it. - Ryan Harig

Snow-Globe Universe

http://snowglobeuniverse.blogspot.com/2006/07/golden-bear_28.html#links (Includes Downloadable MP3s)
Today's post is one of the most dearest to my heart so far in terms of how important it is to me. Several months ago Golden Bear asked for my friendship on myspace, well with the deluge of friend requests I get from bands I don't always get the chance to take a listen as quickly as I'd like. As a matter of fact sometimes, the name or the biopic are usually all I go on as to whether to check out the site and approve said request or not. I was however definitely intrigued by their myspace photo of the band in what looks like monk's robes in a field, but still it took at least a few weeks before I got around to tracking down the 'Bear and finally listening to their sound. My first listen of them was definitely one of those moments where you hear something that you KNOW you are going to love just from the first chords that reach your ears. This six member group have a sound not unlike My Morning Jacket, maybe mixed with a slightly less weird Flaming Lips (a little, its there, I swear). That might be a bit trite to compare them to, since both Golden Bear and MMJ sort of mine that 70's classic rock vibe. But there's nothing wrong in that at all. In fact, one of the things I love most in music is hearing something that all at once sounds familiar and completely new at the same time. That's the sound that Golden Bear captures. Something based on familiarity but with enough freshness to make even the most jaded of indie hipster raise an eyebrow and rethink previously held notions about what music is cool and what isn't. Golden Bear's bio states "Galactic-Forest Rock", and I don't think there is an easier way to describe their sound. I gotta say with the number of bands today (MMJ, Hockeynight, Grandaddy) mining those arena rock bands of the 70's, it could be the start of an even bigger trend to come in the future. And that's a good thing. Golden Bear's debut full length drops next Tuesday on C-Side Records. Links for getting your own copy can be found there and while you're in a link-clicking mood, Golden Bear could use some more friends on myspace. Here's 3 songs from their self-titled debut.

MP3: Golden Bear - Lady Soul

MP3: Golden Bear - Santa Rosa

And my personal fave song so far from the album:

MP3: Golden Bear - A Reason to be Proud (so highly recommended that for me to say anything just delays your right-clicking and saving this sucker to your desktop so you know exactly where it is for when you load it on your mp3 player so you can listen to it and obess over this song all day and night like I do!)

Their myspace has an additional song that is well worth the trip to Slowspace, I mean myspace. The whole album is also up on C-Side Records for streaming, head over there and preview the album then cruise to the link at the bottom and get your own copy for self-gratification.

Slug Magazine
http://www.carbonefamily.com/TomTomBeat/?p=63

An apparent slew of various novelty instruments really makes Golden Bear's self-titled debut an enjoyable first listen. Upon further listening and a look at the linear notes, where each instrument used is listed track by track with its respective musician, it's safe to say that this album will be a memorable debut. The first track, "A Reason To Be Proud," is rightfully titled due to its simple-yet-catchy opening guitar riff and fuzzy layerd vocals, making it the highlight of the album. "Golden Bear Revival Stomp" features some of the aforementioned creative instruments such as the xylophone, a trash can lid, and a can of nuts. The album was recorded and co-produced by Erik Wofford, who has also recorded My Morning Jacket, The Octopus Project, and Explosions in the Sky. Another surprise is the contribution from pedal steel legend Lloyd Maines on "The Saddest Songs," which combines country twang and Pink Nasty proclaiming "these are the days we're living for/And there's no way that we'll be sad tonight!" Maines is also known as the father of Natalie Maines of The Dixie Chicks. This debut effort, full of honest indie-pop, is sure to keep your head bobbing and your toe tapping for hours. And face it; what else could you expect from a band that uses a Wurlitzer? --- Tom Carbone Jr.

Sentimentalist Magazine

Golden Bear, (not be confused with the University Of California Marching Golden Bears), tracks glorious indie pop/rock. But to pigeon hole Golden Bear, (the non-marching band version), into linear indie is much too limiting. This CD traverses the gamut, there is even a stunning country tinged ballad entitled "The Saddest Song," which features outstanding pedal steel work by the legendary Lloyd Maines. Being that this disc is a debut, the Austin based group has set the bar exceptionally high for their next CD. This Golden Bear is far from Pooh. –SMJ

Under the Volcano

I'll be honest this record took me a few listens to get into but once I did I was pretty darn pleased. Golden Bear play melodic indie rock whose vocalizations remind of Sloan while the predominantly rock based song structures mingle with various textured sounds that gives the songs a early Mercury Rev or a more rocking Beachwood Sparks touch. Golden bear doesn't shy away from adding subtle accompaniment by either horns, keyboard or even the stray garbling of digitally processed sound effect. If you are looking for some solid indie rock that you can tap to look no further than Golden Bear.

Theme Park Experience
http://themeparkexperience.blogspot.com/2006/06/ten-thousand-orchestras.html

Despite the traffic on I-35 through downtown, the packed-in feeling living in and around downtown and the excessive heat, Austin is still a great town. When it comes to music, there's plenty, but for some odd reason, I don't hear about many newer bands from there, even though I live three hours away.

How I was introduced to the awesome twang-less country rock of Moonlight Towers was by pure fluke: they were opening for the mighty Red Animal War at the Double Wide a few months ago. I heard about Voxtrot first from Jason and have proceeded to really enjoy both of their EPs. Now, thanks to the good people at AAM, I have a couple of other Austin bands to enjoy: Golden Bear and the Channel.
I can't help but think of Mass Romantic-era New Pornographers and Jesus Hits Like the Atom Bomb-era Tripping Daisy when I hear Golden Bear. I can't stress this enough though: they don't sound exactly like those bands, but characteristics of Golden Bear's sound remind me of what I've heard before. What I think is really in favor of their self-titled album is this is fuzzy pop with the right amount of sugar. The songs have tons of great hooks on top of multiple layers of sound, but they don't come across as whimsical children songs. Also, Golden Bear doesn't sound like a knock-off Dave Fridmann/Flaming Lips record (as in, super-boomy drums, screeching guitars) and that's a major plus in my book.

What helps Golden Bear's case is that despite the layers of sound, this doesn't sound messy, to my ears at least. Horns show up in spots while keyboards, pianos and vocal oohs and aahs are all over the place. The core of the songs are simple but really special; the extras on top just make this better.

Reading through the liner notes of Golden Bear, the members of Golden Bear also pop up in the Channel. In other words, the two bands go hand-in-hand, but they don't sound that much alike. Golden Bear is more or less singer/guitarist Chris Gregory's project while the Channel is Colby Pennington's project. They share so many members that it's like one big band.

The Channel (not to be confused with the awesome, J. Robbins-led trio, Channels) has a new album - a double-album no less - called Tales from the Two Hill Heart/Sibyllinne Machine. 23 songs may be a little too much for me to handle, but at least the songs are worthwhile. Decidedly stripped-down and more low-key than Golden Bear, the Channel brings some tuneful stuff with a nice use of pedal steel. Thankfully, this isn't sad-eyed, hokey country twang.

I don't know what the deal is, despite the fact that a number of Austin bands play in Dallas, but since I don't get out that much, I tend to miss bands right after they play here. Voxtrot has played Dallas plenty of times before, but the only show I've seen so far was the now-legendary (in my mind) Voxtrot Karaoke show (my review here and Chris's here). Golden Bear and the Channel are coming to Dallas the same night we're having another one of our wine-tasting parties, so it looks like I'll have to skip out on that one. I'm thankful that the drive isn't too bad for bands to drive back and forth, but hey, at least this isn't as spread out as a place like Iowa.

Theme Park Experience (Live Review)
http://themeparkexperience.blogspot.com/2006/06/ten-thousand-orchestras.html
Eric Grubbs

In my short time of seeing shows at the Cavern, I have seen two-piece bands (ie, the Lord Henry) all the way up to six-piece bands (ie, SOUND team and Pegasus Now). After last night, I can now say that I have seen eight- and nine-piece bands play on the Cavern's tiny stage.

Austin's Golden Bear and the Channel came into town to spread some good tunes for us Dallas folks. I didn't get to see all of Last Picture Show and Belafonte, so I can't really describe what I saw. I was there to see Golden Bear and the Channel as they play a friendly mix of layered chamber pop without feeling like kids' music.

With eight members onstage, there wasn't much room for moving around during Golden Bear's set. Three guitars, one bass, one rather large vibraphone, one regular-sized drumset, a saxophone and two keyboards stacked on top of each other is really pushing how much you put into the Cavern's space. Josh was doing sound and gave every instrument enough volume to hear them all without over-powering (though the sax sounded a little too loud from where I was standing, but that's no reason to say that was a major drawback).

The sound on Golden Bear's self-titled album is rather hazy and psychedelic, so I wasn't expecting to hear that live. Well, I didn't, but what I like about their songs are the hooks, especially on songs like "Ten Thousand Orchestras." The band was understandably cramped onstage, but by the middle of the set, they were moving around. All the while I'm watching them, I kept thinking of seeing them in a larger venue, like the Backyard or Stubb's outside. Their sound is big, so I hope they do get to play bigger places that accommodate this.

With the Channel, they had nine people playing (seven of them were playing in Golden Bear), but the set felt a little more fun. Golden Bear kept getting better with every song they played, but the Channel was fun the whole time. More bouncy and country-fied than Golden Bear, this felt like two distinctly different bands, but that was fine by me. Despite the line-up similarities, they put on some different vibes that were great and engaging

The good thing about this show was that a decent amount of people came out despite the lack of "known" names on the bill. I've seen the Cavern be filled to the brim and completely empty on prime weekend nights regardless of who was playing. Yes, I know more people go out to bars to hang out and drink than see bands, but I always wonder why the massive fluxuation. Sure, a band like SOUND team may attract more than the bar's usual crowd, but what about the bands that don't get that kind of publicity? I'd like to think that every major bar in town has a regular crowd, but you never know. Regardless, I had fun and that's why I go out to shows so often. I can only handle so much reading, writing and dog walking at home before I go nuts.

Dallas Observer (Live Preview)
http://www.dallasobserver.com/Issues/2006-07-27/music/preview3.html
Fans of Beulah still stinging from their break-up two years ago would be wise to check out the pairing of Golden Bear and the Channel, two Austin groups that share that band's killer songcraft and So-Cal pop sensibilities. Five members pull double duty between the two, with Golden Bear recalling the fuzzed-out psych-pop of mid-'90s Flaming Lips or Grandaddy (aided on their self-titled debut by fellow Austinite Pink Nasty, who nearly steals the show with the buoyant country-pop of "The Saddest Songs"), while the Channel mines a sadder, country-tinged vein of the same sun-dappled genre--complete with Fruit Bat hooks and Beach Boy harmonies. For warm summer sounds, there's no better bill around. - Noah Bailey

Austin Chronicle (Live Preview)
http://www.austinchronicle.com/gyrobase/Guides/Bands?oid=195699
RECOMMENDED (08/04/06 @ Flamingo Cantina)
When was the last time you pulled out your flower-print polyester button-up? A local bill high on life and down with depression culminates with this C-Side Records showcase, featuring Austin sevenpiece the Channel and their latest double LP, Tales From the Two Hill Heart/Sibylline Machine. The Channel’s alter ego, Golden Bear, warms up with their new eponymous debut, chock-full of guest appearances (Lloyd Maines, Jason Morales, Black Angels, Voxtrot) and summer grooves. Driftin’ Luke & His Many Personalities open. Easy, breezy, and beautiful. - Darcie Stevens

You Ain't No Picasso
http://www.youaintnopicasso.com/2006/07/05/golden-bear-ten-thousand-orchestras/ (Includes Downloadable MP3)

All this talk of “bear” bands made me remember one that Cory and I listened to on our way back from Bonnaroo: Golden Bear. Based out of (you guessed it!) Austin, TX, these guys are half 90s rock and half 00’s indie pop.
I had to check the album credits to make sure this wasn’t another Damon Albarn-fronted band. It’s very Blur-like, but has just enough indie-pop in it to keep it from being a lame 90s throwback. Rather, it’s remarkably forward-thinking and broad in scope–almost like Arcade Fire, but in a very different genre.

Modern Fix Magazine
As soon as Golden Bear's debut lets out the first note, you can feel their desire to mean everything to you by the end of the disc. The struggle can be so lethargic that parts of the disc tend to get bogged down in its own fight for the indie rock crown and in that bogging, begin to drown in a sound that was left in the late nineties. The spacey ambience behind the marching drums and guitars is great to add depth to the song, and when it is included for depth in the song, sometimes the ambience gets lost in the struggle, which is not necessarily a bad thing. Trying to take indie pop back to the rock side of the fence, Golden Bear is pushing with everything they have, and is definitely working hard on maintaining their foothold. Listen to the battle of the bear. - Pete Soyer

Austin Sound
http://www.austinsound.net/GBrev8-10-06

On their self-titled debut album, Golden Bear has assembled an impressive group of Austin luminaries to help out, including Pink Nasty, Voxtrot’s Jared Van Fleet, The Black Angels’ Kyle Hunt, and Jason Morales of Tia Carrera. Yet even with as many as 14 musicians contributing on some tracks, the result is an impressively coherent burst of Brit-pop inspired tunes with flourishes of horns, synths and even a trashcan.
From the catchy anthematic opener “A Reason to Be Proud,” Golden Bear is addictive and inviting. Their guitar-driven spree of irresistible sound is as inclusive as it is ambitious, and one can’t help getting wrapped up in their persistently hopeful lyrics. Lines like “Between 'the saddest songs' and 'darkest of days' / When bells don’t dare to make a sound / And you found yourself inside an endless malaise / There’s still a reason to proud,” could easily have come off as cheesy and self-indulgent ("The Saddest Songs" and "Darkest of Days" are two tracks on the album), but they are made convincing by the sheer energy of the group and Chris Gregory’s smooth delivery.
The “collective” feel of songs is reinforced by the chorus of voices that often explode forth along with the horns, and Golden Bear may be our best answer yet to the Canadian collectives that have dominated the indie scene in the past few years. “Ten Thousand Orchestras” and “Victory is Ours” have the same feel as Stars’ best moments, but with a less jaded heart. There are also swings into more twee-ish pep like “Golden Bear Revival Stomp” and country-tinged romps such as “The Saddest Days,” which features Pink Nasty on vocals and Lloyd Maines with some impressive pedal steel. But these songs manage to expand the breadth of the album’s sound rather than diffuse it, partly because everyone contributing seems to have the same vision for the songs, but more because of Erik Wofford’s excellent production on them and perfect piecing of all the disparate elements together.
The underlying sound on the album, however, is still a sweeping early-90’s Brit-pop ala The Boo Radleys. This feel is largely due to Gregory’s accented and often restrained vocals. His singing on “Wonderful” and “Lady Soul” would fit in well with the hazy sound of the Stone Roses or even early Primal Scream, though with a more pop than psychedelic bent. Golden Bear is what The Trembling Blue Stars might produce if they were less endued with Manchester melancholy and more with California dreaming. But taken as whole, Golden Bear has produced one of the best Austin debuts in a while. - Doug Freeman

AA-S Best Bet - Austin American Statesman (Live Preview)
http://www.austin360.com/event/events/Entertainment/event?hidActionName=PreviewEvent&eventid=95063

Golden Bear: The buzz around Austin this past week has been the emergence of local indie rockers Golden Bear. The C-Side Records signees are fresh off of last week's official CD release of their self-titled album and are playing a slew of venues around Austin.
American-Statesman music writer Joe Gross gave the group's CD a glowing review.
"Some of the tunes feature as many as 10 folks banging on trash cans and fooling with the space echo, which certainly will remind some people of ultra-hip pop collectives such as the Arcade Fire. What's really impressive is that Golden Bear easily can give the sainted Fire a run for the money in tunes, energy and sheer exuberance," Gross wrote.
Golden Bear take the stage at Hole in the Wall with labelmates the Channel and Dirty Hearts. -- Courtney Sebesta

Down by the C-Side - Austin Chronicle (Live Review)
http://www.austinchronicle.com/gyrobase/Issue/column?oid=oid%3A394206

Once upon a time, music was about expression, an escape from life while expounding upon it. The last decade has seen that drop by the wayside in favor of image, but last weekend's C-Side Showcase at Flamingo Cantina went back to the old-school. Founded in 2002 by Matt Pittman and Austin band the Channel, Round Rock's C-Side Records sponsored a show Friday that did just that. Chris "Grizzle" Gregory and his troupe of nonchalants in fellow C-Siders Golden Bear became invigorating with the addition of the Royal Forest Horns. All dewy-faced and bright-eyed, the band bounced through organic pop songs off their eponymous debut, leaving only one question: Where did these guys come from?
"[Golden Bear and the Channel] have both been around for five years or so," Pittman replies. "They're truly unique and wonderful people, who are putting their heart into their music." That sentiment blasted contagious in "Ten Thousand Orchestras," as a room full of friends and strangers beat the air in unison. Half of Golden Bear, plus a few friends, went on last as the country-tinged Channel, a bit more discombobulated than the Bear but with no pretension or formula. Their new double LP, Tales From the Two Hill Heart/Sibylline Machine – the fourth for C-Side – is an exercise in theory, genres overlapping fragile, eclectic sounds.
"I wish I had the money to properly promote and market these records," Pittman says. "Realistically, I just hope that we make enough of a wave that some more-established indie label will decide to give our artists a pleasant home on their roster. It would be bittersweet for me, kind of like watching your kids leave home, but I'd be very happy for the bands. They deserve something better."

Camera as Pen
http://thecameraaspen.blogspot.com/2006/08/golden-bear.html

it's not that often nowadays that i approach an album without any preconceptions or expectations of what i'm about to hear, either based upon the band's previous work or upon an avalanche of hype touting a band as the "next big thing" to come out of nowhere. perhaps that's what has made the debut record from austin's golden bear* such a pleasant surprise for me. after reading kaleb's rave review at sctas.com, i got the impression this was something special but was still sort of clueless about what i should expect to hear. once i popped it in the decks, there was no stopping the infection. each song made me love them more and more. it has quickly become one of my favorite records to be released in 2006. so i think the best way to leave it out there for you is to not give you any more to think about other than that. just take the next step and give it a shot. trust me. you will be rewarded.
you can download these songs below - which are available on the c-side records website - and listen to them, of course. but the best way to do it would be to drop the measly tenner and order the cd. when it shows up on your doorstep, you can listen to the whole album properly - in order, in its entirety, while lovingly gazing into the beautifully painted cover art. - Mike Jonze