Glitter - broken glass

Glitter

Broken Glass
self-released; 2014

4.1 out of 5

By J Simpsin

Post-punk can be so much more than most people make it out to be. Most people get hung up on the monochromatic, long-coat wearing Joy Division worship of Factory Records and their ilk. That may be the era most people are familiar with and the sound they tend to associate with the term, but the punk rock current certainly doesn't stop there.

In the late '70s and early '80s, after the initial three-chord napalm explosion of punk rock, the DIY uncompromising music revolution would go on to become, or at least inform, new wave, new romanticism and what was then called college rock, a prototype of what we now call indie. A lot of people aren't aware of the fact that Elvis Costello or early R.E.M. were as punk as The Exploited or Devo for that matter. When these currents are re-introduced, it fuses the smart, sharp and anarchic spirit of punk with melodicism and musical chops.

Glitter is a 4-piece with their roots in the Philadelphia indie pop scene of the '90s, claiming melodic British indie rock, bands like The Pastels and The Vaselines, best known for their "Molly's Lips" being covered acoustically by Nirvana. The tumult and tumble of hyper-literate lyrics (many of which Kurt Cobain could not remember), and the hyper-frenetic acoustic guitar frenzy of that song should give you an idea of what you are in store for with Broken Glass.

"Heart And Soul" may be named after a Joy Division song, but it sounds more like a Gary Numan outtake - rickety dink organs catch and hook in your ears, for days, and possibly leaving larvae, while quick stuttering guitars, like Sterling Morrison, double-timed, while the drummers pummels and the singer soars into '70s arena psychedelia. It's a glorious start - melodic and catchy, but full of energy that shows right from the start what is so glorious about this collection of attributes. Most of Broken Glass sticks around this tempo and mood - upbeat, energetic, fun, catchy. Supercatchy synths, disco beats and guitar hooks - this is a power pop meeting the dance floor, as well as the coffee shop.

"Julie Andrews" slows things down and gets a little more mysterious, before raving it back in, in a meteor shower of shoegaze guitars, that just shows that Glitter has dug through the entire history of adventurous, psychedelic '80s music and internalized it all. They can go anywhere and do anything.

For those that like smart, edgy pop-encrusted, punk fuelled acoustic fare, this one's for you. It was even recorded on a four-track and then mixed by Jeff Zeigler who's worked for Kurt Vile. If you're looking for art pop that is not the last Lady Gaga record, start here.

Recommended for fans of R.E.M., Elvis Costello, Wire, Magazine, and Talking Heads

Become A Fan

bandcamp

Tweet