Monday, August 19, 2013

another sunny day for California's George Glass.

 
 
George Glass     

Welcome Home

Self-released 2013
On their debut effort, life is another sunny day for California's George Glass.  I swept away by indie pop of the most infectious kind, sort of like a combo of the Lemonheads and Simon and Garfunkel.  The guitars are lush and the vocals so smooth and inviting on album opener, Operative Me.  The guitars charge forcefully on the chorus and then it's back to warm, slow-motion flowing melodies.  A bit of rearward looking nostalgia infects the layered vocals and snappy snares on Don't Try.  Acoustic guitar and sincere yearning pull you on Metro before it receives injections of American folk.  And then on Future Former I hear shades of The Beach Boys in those opening notes and then they give way to some gleeful indie pop.  The free flowing dance of Sporto struts along with a catchy bassline and then slips into some sappy, but captivating vocals that have my fingers snapping and my toes tapping.  The track, Patchwork Girl, thunders and rumbles along like a lazy Black Sabbath song.  Of course it is nowhere near as heavy, but there are direct musical parallels here like the slowly undulating riffs and the bass that bottoms out in portions of the song.  I love the sunnyday riffs and the insanely catchy chorus of AM Radio.  The beat sort of marches in a sharp fashion and then crests into buttery smooth layered vocals.  The final track, Spell, winds down a bit from the rest of the album, like the sun setting after a warm summer's day on the coast.  You can still hear echoes of The Beach Boys here as well.  George Glass's first album is a winner through and through.  Beautiful, emotional songs that are well crafted and dig deep despite being effortlessly easy.   
 

Wednesday, August 7, 2013

HAPPY RELEASE to LA's George Glass! I XO YOU!

George Glass is a flailing Charlie Brown foot aimed deadeye at Lucy's football, which isn't a football at all, look closer, it is flatter and it's grayer, and it's squat and it is gritty and it's a rectangle, hard as tooth, a cinderblock that on contact makes toes crumble into plum flesh.
George Glass is a restless Los Angeles youth seeing maturity but not exactly trusting it, uncertain of a transition from city to country or country to city -- neither are enough to contain them.

George Glass is the split-second afterimage lingering on a boxy woodframed television screen in 1986, when all that remains of the saucy charm and the hardpack body and the teased hair of craven ecstasy is a wisp of light that may exist only in your eye. George Glass is a band from Los Angeles.

BUY them! http://georgeglass.bandcamp.com/music
https://itunes.apple.com/us/album/welcome-home/id618151225

George Glass - Welcome Home

George Glass - Welcome Home
George Glass
Welcome Home
Self-Released; 2013
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I can’t decide what I love most about the music of George Glass. On one hand, the California quartet’s take on peppy indie-pop makes me happy, in that it’s full of sunny, zippy energy. On the other hand, these guys pen smart, well-crafted pop tunes that cause them to rise above the standard surf-meets-garage-rock being crafted by so many other young bands these days.

Or maybe I don’t have to decide, since I’ve been a fan of the band since I reviewed its self-titled debut in 2011. - I can just bask in the glow of vintage power-pop created with alt-country and Laurel Canyon sensibilities. That’s because Welcome Home represents a world where Mike Love took control of The Beach Boys, Superchunk is a revered rock group (and not a Goonies character), and young bands  from around the globe unabashedly copy from Elvis Costello, Talking Heads, and The Smiths (and are praised for it).
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Out of the 13 tracks on this record, only a few cross the 3-minute mark, which keeps the energy and pacing quite crisp. The arrangements feature the great melodies, clean grooves, and good swing reminiscent of young college rock bands from the ‘60s and ‘80s. Moreover, as you hear on favorite cuts like “Operative Me,” “Side Effects May Include,” “Automat 23,” “Sporto,” and “AM Radio,” there’s great movement between genres, and it’s achieved with class and verve, as opposed to sounding scattered or obnoxious.

Strong guitars serve as the foundation for the band’s musical aesthetic. They tend to remain clean and bright on most songs, though it helps that the guys know exactly when and how much distortion, echo, and tremolo need to enter the fray for flavor. I’m also impressed by how the self-assured tenor works its way past the instruments so that it can shake the listener’s hand before asking if he could have this dance. The rhythm section is on-point as well, as the drumming is fun, engaging, and reflective of a good appreciation of dynamics, while the counterpoint runs on the bass make my inner music theory nerd quite pleased.
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When you take into account all of the nonsense I normally get in my inbox from hip buzz bands and their hipper PR folks (much less satellite radio stations and music blogs popular with modern music fans), I’m surprised that more people haven’t learned about the magic made by George Glass. I’ve never been the sort of music fan or critic that wants to hide good music from the hoi polloi, which is why I think that Welcome Home deserves all the accolades and attention it could possibly receive.
http://dryvetyme.tumblr.com/post/56141813443/george-glass-welcome-home