No-one could ever accuse Daniel Rossen of resting on his laurels. Back in 2001 he formed his first band Department of Eagles with his then University roommate Fred Nicolaus. They went on to release a number of EPs, remix albums, and full-lengths - the best and most successful of those being 2008’s In Ear Park. It was a wonderful, sprawling record, made even more impressive by the fact that Rossen was now juggling the responsibilities of another band altogether: Grizzly Bear. He joined them in 2005, just in time for their second album, Yellow House. It didn’t take long for him to put his stamp on things, particularly on their brilliant third record, Veckatimest. A critically adored piece of work, Veckatimest wore its Rossen trademarks on its sleeve: intricate, complex melodies; sonic precision; angelic harmonies - all tied together with a brilliant pop nuance and sensibility.

After touring commitments and a quiet 12 months or so for the band, it was earlier this year that two separate announcements were made. One being that Grizzly Bear were working on a new album to be released later this year; the other was that Rossen was to release his very own solo EP, Silent Hour/Golden Mile. The latter piece of news was met with excitement in some quarters, but was inevitably overshadowed somewhat by the former. Silent Hour/Golden Mile is that kind of record in some respects - an EP that could quite easily slip under the radar and go by unnoticed. It’s mostly a quiet, reflective effort, but punctuated by moments of brilliant, harmonious noise; this is music that has been pored over and carefully arranged, providing a meticulous quality you rarely get from EPs.

Right from the off, gorgeous strings sweep in, stopping just short every now and then so all we’re left with is some guitar and a lone voice: “With your head full of stars/ That crowd all you see/ Sing for me,” sings Rossen. Just like all of Grizzly Bear’s best work, Silent Hour/Golden Mile has a wide-eyed, innocent beauty that runs right through it. The centrepiece of the collection, 'St Nothing', is the most restrained thing here. Nothing more than a stark piano, later joined by some ghostly backing harmonies; the song has a mesmeric, hypnotic quality, and finds itself in the strange position of being a relatively bare, hook free track, yet one that doesn’t leave your head for days afterwards. 'Silent Song' retains such a memorable quality, though it's anything but sparse. Opening with a bouncy acoustic strum, it gives way to a Harrison-aping slide guitar, pianos, counter-melodies, and some dazzling vocals.

Elsewhere, 'Return To Form' meanders a little - a slow, considered song, in the same vein as 'St Nothing' - but it struggles to have the same emotional impact. 'Golden Mile' is better, and sees the return of the rich melodies and sounds found earlier on, building up to a dramatic climax, until it quietly fades away into silence, bringing a suitably peaceful end to proceedings.

Silent Hour/Golden Mile turns out to be a rare beast: a strong EP, one that doesn’t seem to fall under the usual bracket of leftover songs with nowhere else to go. It could be seen as a polite reminder after the long-ish absence since the release of Veckatimest. But let’s just call it a preview of what’s really to come; which turns out to be more of what we’ve already grown to love about Daniel Rossen.