The minimalist, modernist pop of LA’s newest sorceress comes up smelling of roses
Monday, October 11
Imagine if [a]Enya[/a] – the pot pourri of pop – was raised on [b]Steve Reich[/b] and [a]Bat For Lashes[/a], and cut tunes to put you in mind of soft silk billows and eerie-white sun glow. Then stop imagining, and go to [a]Glasser[/a]’s [b]‘Ring’[/b], because it really is one of the finest debut turns you’ll set needle to groove on all year.
Its creator, [b]Cameron Mesirow[/b], is in town from California to show off her baby this evening. She takes to a stage flanked by three men in white overalls, and melts back into the night after 30 minutes. But by then she’s already made quite the impression.
In flight our flame-haired debutante is all fine-china wrists and feral child-stares; a beguiling presence in earthy print dress. Often, she’ll echo the capricious flows of [a]Bjork[/a] in her vocal phrasings, segueing into non-verbalised coos and sighs where words won’t do.
Fittingly, given her West Coast extraction, Mesirow makes prismatic pop from what we might broadly term a post-hippy standpoint, cleverly applying pagan-like theories about the circularity of nature to her music’s shimmering, modernist flow.
[b]‘Apply’[/b]’s the first tune to bend our ears, and it sounds like [a]White Hinterland[/a]’s spectral sheen with brassy synth stabs adding an undercurrent of dread. [b]‘Treasure Of We’[/b] is chittering, fourth-world pop via an electric guitar impersonating a marimba. The first real highlight arrives with [b]‘Home’[/b]’s three-note woodblock slide, which beautifully distils Mesirow’s MO of extracting emotionally rich music from minimalist infrastructure. The other swoon-worthy moment is a stripped rendition of [b]‘T’[/b] that quells the incessant, annoying hum of a Hoxton crowd predictably in love with the sound of its own honking chatter.
If Enya’s the pot pourri of pop, [a]Glasser[/a] is the Glade Plug-In. But as with so many things in life, the truth is so much sweeter than that.