11 Songs, 44 Minutes

EDITORS’ NOTES

With so many male artists ruling the electronica genre, Glasser’s Cameron Mesirow could be heralded as a welcome female counter to Gold Panda, Flying Lotus, et al; or, she could just be welcomed to the club on the merits of her skill as a composer and vocalist. Ring is a beguiling concoction of elements that are earthly and organic, yet sleekly contemporary — and intrinsically wedded to the digital age. Tribal elements (chanting vocals, wood blocks, animal sounds) accent canopies of gliding synths, while smoothly looping tones mimic water dripping, or woodwinds. Mesirow’s celestial voice is simple and straightforward when she wants it to be (it’s especially lovely when surrounded by the glassy chiming of “Mirrorage”), and is softly sculpted into textures and patterns that weave easily into each tune. If Sinéad O’Connor had started making music (with computers) in 2010 instead of the ‘80s, she might have conjured something like “Glad,” or super-cool bonus track “Temp On.” Ring has an inarguably feminine touch, and a kind of cosmic serenity and mystery that’s quite appealing.

EDITORS’ NOTES

With so many male artists ruling the electronica genre, Glasser’s Cameron Mesirow could be heralded as a welcome female counter to Gold Panda, Flying Lotus, et al; or, she could just be welcomed to the club on the merits of her skill as a composer and vocalist. Ring is a beguiling concoction of elements that are earthly and organic, yet sleekly contemporary — and intrinsically wedded to the digital age. Tribal elements (chanting vocals, wood blocks, animal sounds) accent canopies of gliding synths, while smoothly looping tones mimic water dripping, or woodwinds. Mesirow’s celestial voice is simple and straightforward when she wants it to be (it’s especially lovely when surrounded by the glassy chiming of “Mirrorage”), and is softly sculpted into textures and patterns that weave easily into each tune. If Sinéad O’Connor had started making music (with computers) in 2010 instead of the ‘80s, she might have conjured something like “Glad,” or super-cool bonus track “Temp On.” Ring has an inarguably feminine touch, and a kind of cosmic serenity and mystery that’s quite appealing.

TITLE TIME
4:59
4:06
2:22
4:21
5:16
3:45
3:39
5:27
4:30
2:20
3:38

About Glasser

Glasser is the ethereal electronic project of Cameron Mesirow, a Los Angeles native surrounded by classic and more challenging music since birth. Mesirow's father is a member of the Blue Man Group, while her mother played with Human Sexual Response in the '70s and '80s. She grew up listening to Motown and new wave, but in her teens she discovered punk, grunge, and ska. By the time she was in her twenties, Mesirow felt ready to make her own music and, inspired by a vision she had of a figure hovering over water, her nom de musique became Glasser. She crafted GarageBand demos that pitted her delicate, swooping vocals over spare electronic rhythms and circular melodies that evoked avant-garde music and global folk at the same time. These tracks made their way to the labels True Panther and Young Turks, which released the Apply EP in 2009 and the Tremel single in 2010. Glasser toured with the xx and Sigur Rós' Jónsi with a rotating cast of supporting players, including producers Van Rivers and the Subliminal Kid, who worked with her on her debut album, Ring (so named for its flowing structure), which arrived in September 2010. Re-teaming with Rivers, Mesirow continued her focus on the emotional and physical aspects of structures with her 2013 album, Interiors, which was inspired by her move to New York and Rem Koolhaas' book Delirious New York, among other influences. ~ Heather Phares

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