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The Man Who Died In His Boat

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Album Review

Grouper's Liz Harris recorded The Man Who Died in His Boat at the same time she was making her gorgeous breakthrough album Dragging a Dead Deer Up a Hill, which for many fans was an introduction to her remarkably emotive, hypnotic music. She followed it with the more abstract but just as lovely A I A, and her project with Tiny Vipers' Jesy Fortino, Mirroring. While this music is a little older than some of those projects, The Man Who Died in His Boat feels connected to each of them. Part of what made Dragging a Dead Deer Up a Hill so remarkable was its softness, which seemed to allow the emotional vulnerability Harris displayed to sink in even more deeply. There is plenty of that brave gentleness on these songs, which are possibly even more melancholy; "Vital" and "Being Her Shadow" carry an almost palpable sense of loss and longing in their drifting melodies and blurred vocals. Once again, Harris uses just a handful of elements — voice, acoustic guitar, the occasional piano, and lots of reverb and delay — to convey a subtle but wide range of feelings impressively. She balances the album's darkest moments with surprisingly comforting ones such as the strummy "Clouds in Places" and "Difference (Voices)," which lets Harris' vocals circle and linger around the listener like a long embrace. Songs like these and "Cover the Long Way" suggest, as the Cocteau Twins did, that clarity is overrated, or at the very least, a voice doesn't need recognizable words to give it power. When her singing does come into focus, as on the title track, it's almost unbearably intimate, but beautifully so. Elsewhere, "Living Room" recalls Mirroring in its spare yet dreamy folk, and drone-based tracks like the album bookends "6" and "STS" tie everything together and also hint at the direction Harris took on A I A. The Man Who Died in His Boat may be a smaller-scale album than either Dragging a Dead Deer Up a Hill or A I A, but it's no less lovely or moving because of that.

Customer Reviews

Finally something listenable...

As a fan of "Heavy Water, I'd Rather be Sleeping" I'd tried desperately to like a lot of Grouper's other material, though this was difficult when she kept releasing tape-delayed noise banks with few vocals. Though interesting to listen to and decent enough for background sound of an evening, the noise tracks lacked direction or meaning. I was beginning to think that Heavy Water was a one off. Thankfully this album bridges the gap between Grouper's vocal songs and noise songs. There are many beautiful and sonically interesting songs on this album, which becomes better with every listen. It shows the true talent behind the music. Recommended. Review written in the style of the average iTunes store reviewer.

Best Grouper Album since Dragging a Dead Deer Up a Hill

I bought this album today and I've already listened to it three times. Here she's gotten the balance just right between the drone and the soul. "Vital" is an amazingly haunting song to rank amongst the best Grouper have ever done.

Brilliant album and the best Grouper album since Dragging a Dead Deer Up a Hill, upon further listens it might just top that.


Born: Portland, OR

Genre: Alternative

Years Active: '00s, '10s

A one-woman ambient project from Portland, Oregon, Grouper -- aka Liz Harris -- first appeared with the self-released full-length CD-R Grouper in 2005. Later that year, and then signed to Free Porcupine, Grouper released the critically acclaimed Way Their Crept. From there, a series of recordings were made available, including a 3" CD entitled He Knows in 2006 and the 12" Weird Forest release Wide in 2007. In the meantime, Harris earned extra props from the genre as a whole with her 2006 collaboration...
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The Man Who Died In His Boat, Grouper
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