Glasser set for Glasgow show on UK tour - interview

Spooky female pop layering sighing vocals over tribal beats

Glasser set for Glasgow show on UK tour - interview

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.’


Glasser- Treasury of We (Live at Carriage House)

Glasser, Sampha and Kill the Waves

Ethereal electronica from LA-based multi-instrumentalist Cameron Mesirow, daughter of a member of performance art troupe the Blue Man Group.


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