“I live on the beach / Water surrounding me
And it’s got too deep / I let it get too deep
My home has no shape / Nothing to sustain me
But it keeps me safe / From imagined pain
Cast a dim light on the truth all you can do is bow”
Last week, Glasser shared a note and a new track, hinting at the forthcoming release of a new album. We’re proud to announce that album now has a release date – October 8th (October 7th in UK/Europe) – and a title INTERIORS.
The follow up to 2010’s critically acclaimed debut Ring, Interiors was produced by Glasser and Van Rivers (Fever Ray, Blonde Redhead), and is a much more considered, confident, and sharply personal album than its predecessor.
In the three years since Glasser released her breakout debut Ring, she toured around the world (with Jónsi of Sigur Rós, The XX, Delorean, among others) and left her California home for New York City. The collapsing of California’s dreamy, empty expanse for that of New York City’s frenetic, tightly-knit landscapes set off a new trajectory of exploration for Glasser, one that focused on the definition of space, both outside and in. Bouts of mild agoraphobia coupled with the end of a long-term relationship brought two variations on the theme of spaces to Glasser, who began working on her new record in earnest upon settling down in the city. Along the way, she discovered a new partner in producer Van Rivers, whose background in techno production added elements to her music that reflected both the looming, condensed architecture of Glasser’s new adopted home, as well as the intricate internal worlds she was conjuring on her own.
This tension between the interior and the exterior sets the tone for Interiors. In architect Rem Koolhaas’ book Delirious New York, which Glasser credits as an inspiration, the author suggests that New York’s massive, stoic-faced buildings are monuments rife with secrets. Interiors is Glasser’s attempt to exorcise and address some of those metropolitan secrets. On “Landscape” Glasser explores the limitations of symbiosis in a romantic relationship, while “Exposure” characterizes the alienation of life in an ever-changing metropolis as a “modern trouble” that no one feels responsible for, but all complacently contribute to. A trio of shorter songs called “Windows” punctuate the production, and feature some of the most experimental sections of music on the album – windows being where the inside and outside nearly meet, providing partial glimpses of scenes from other worlds, but preventing contact. There is urgency pervasive throughout the record, both to gain access to feelings or people, as well as wanting to be released from them.
The Glasser we find on Interiors is smoother and smokier, more defined against an increasingly stoic electronic music backdrop. The effect is a paragon of sonic architecture–a soundspace that’s packed tight but never feels crowded. In addition to Glasser’s effortlessly mellifluous voice, the instrumentation of the album is a mixture of synthetic and organic sounds, real strings, reeds, and drums combined with programmed ones, a purposeful coupling of natural enemies. As on Ring, there are sounds used for unlikely purposes; vocals used as percussive accents, voices pitched up or down to mimic bass lines, or melodic themes assembled from environmental sounds. The result is one of the most arresting, astounding albums you will hear this year.
Glasser has always valued a visual component to compliment the music. For Interiors, Glasser worked with artist Jonathan Turner, a member of performance art group Yemenwed. Jonathan’s futuristic work establishes the visual palate for all the album’s visuals – all of the artwork, videos, and photos are the result of Glasser and Jonathan’s collaboration.
All twelve of Interiors’ tracks are being previewed today via a number of awesome Instagram accounts; a search for #Glasserinteriors will let you see all of them in a nice grid.
5. Window I
6. Keam Theme
9. Window III
10. Window II
11. New Year