11 Songs, 44 Minutes

EDITORS’ NOTES

A decent pair of headphones certainly wouldn’t hurt. That way you'll be able to fully appreciate the living, breathing world Glasser’s pieced together on her debut, a tapestry of tone poems that’s constantly on the cusp of something transcendent. Take “Apply,” for instance. Originally cut as a bedroom recording on Glasser’s first 12-inch, it’s now blossomed into a hi-fi blend of stutter-step beats, smeared synths, and vocals that shift from a hoot to a holler to a perfect harmony without losing the song’s locked groove. “Mirrorage” is even more impressive, as it follows a breezy set of wind chimes into a forest that’s as spooky and spellbinding as the one in Björk’s “Human Behavior” video. Elsewhere, xylophones are hammered like hollow bones (“Home”), grandfather clocks and wind-up toys perform a solemn duet (the outro of “Plane Temp”), and a saxophone stumbles its way across speaker-panning drums. To listen is to get lost in it all, and to be perfectly fine with never finding your way back home.

EDITORS’ NOTES

A decent pair of headphones certainly wouldn’t hurt. That way you'll be able to fully appreciate the living, breathing world Glasser’s pieced together on her debut, a tapestry of tone poems that’s constantly on the cusp of something transcendent. Take “Apply,” for instance. Originally cut as a bedroom recording on Glasser’s first 12-inch, it’s now blossomed into a hi-fi blend of stutter-step beats, smeared synths, and vocals that shift from a hoot to a holler to a perfect harmony without losing the song’s locked groove. “Mirrorage” is even more impressive, as it follows a breezy set of wind chimes into a forest that’s as spooky and spellbinding as the one in Björk’s “Human Behavior” video. Elsewhere, xylophones are hammered like hollow bones (“Home”), grandfather clocks and wind-up toys perform a solemn duet (the outro of “Plane Temp”), and a saxophone stumbles its way across speaker-panning drums. To listen is to get lost in it all, and to be perfectly fine with never finding your way back home.

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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