Glasser set for Glasgow show on UK tour - interview
Spooky female pop layering sighing vocals over tribal beats
Cameron Mesirow follows in the tiptoed footsteps of Fever Ray and School of Seven Bells, continuing the trend for spooky female pop, and layering a cobwebby veil of sighing vocals over tribal beats. The LA artist’s creepy-pretty style of celestial gothdom arrived last year with the Wildbirds & Peacedrums-echoing EP ‘Apply’, followed by her debut LP, Ring. It’s a mix of weird percussion (tropical, mechanical, human), 80s power beats, and crystalline siren calls, messed up carefully by effects. Although Mesirow now performs with a band (she’s been backed in the past by New York’s tropical danceheads Tanlines, and Fever Ray producers Van Rivers and Subliminal Kid) the original set-up was her as a one-woman electronic orchestra.
‘My [songwriting process] is always different. Sometimes I start with sounds that become a beat, sometimes I have a melody in my head and I need to build around it. There’s not really a formula though.’
And what about ‘Glasser’? Is it true she came up with the name after having, ‘a midnight vision of a figure hovering over water’. Not quite, apparently. ‘The name comes from a dream I had, not an apparition or ghost, but it’s a good example of how Glasser is a visually stimulated creation, not just about music. My hope is to create a space for the listener. I do care very much about the visual aspect of Glasser, I consider it to be almost as important as the music. Aesthetics are aesthetics, whether audio or visual, and that is what I care about creating.’