Glass Rock

This isn’t any Ecstatic Peace! release, this is the sumptuous and soulful tones of Brooklyn’s Glass Rock,

filled with a warm sauce of female-fronted lounge on a bed of
dulcet half ballads.

That’s how ‘Tall Firs…’ instantly feels: like a posh M&S ad gleaming through your TV set. And like all things Marks’,

it’s fit and knows it, but somehow remains the right side of smug. In a barefaced case of ‘telling it like it is’,

this ‘super group’ is made up of one key Tall Fir and, yes, members of Soft Location, and sounds far better than both individual bands.

It’s singer Kathy Leisen who is really to thank for this – sheseduces with her less cold, Fiestlike vocals,

even if they are delivered at one continual safe pace, to safer, minimal drums and guitars. Rock

You may not need a whole album of Glass Rock, but like those goddamn sexy ads tell us, you will want a taste Rock

There’s little to be said about ‘Primary Colours’ that hasn’t already been penned a thousand times over during the last seven months Rock

the monumental change from the ‘cartoon goths’ of old, the move towards epic My Bloody Valentine sonic territory, the dropping of the ridiculous pseudonyms, Rock

If there’s one band that found themselves at the very epicentre of 2009’s hype machine, Faris Badwan and his motley crew were surely it. Rock

But the most oft-repeated phrase and, indeed, the biggest truism of them all was just how astonishingly good, hype or nay, Rock

The Horrors MK.II turned out to be. From the opening woozy drones of
‘Mirrors Image’ through to the glorious eightminute epic of ‘Sea Within a Sea’, Rock

‘Primary Colours’ is an incredibly accomplished record. Charging through on a wave of distortion and a wall of noise, Rock

the band ditched the jagged edges of old in favour of layered soundscapes
and textural caresses,

with Badwan’s guttural snarl presiding over the haze like some kind of accursed preacher. Rock

And, where such a drastic shift in sound could easily seem contrived, the
intricate blend of ‘I Can’t Control

Myself’’s wurlitzer keyboards and the frankly beautiful crescendo effect of ‘Scarlet Fields’, for example,

were far too intelligently executed to even question. In ‘Primary Colours’, The Horrors had finally found their true ones.

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