I would imagine that someone who had never heard the Jesus and Mary Chain would think this album great. And even if they had heard the Jesus and Mary Chain, they should still like this album. Taking a lead from their more tuneful efforts and toning down the feedback, Gliss wear their influences on their sleeve, and to be honest, what’s not to like about a shoegazing band in 2009?
With the vocals, reminiscent of the Yeah Yeah Yeahs, fairly low and barely decipherable, it is the guitars and synthesizers which are generally pushed to the front of the mix, creating a very pleasant wall of noise. The feedback-drenched 25 second intro to the opening track ‘Morning Light’ sets out exactly how the rest of the album will follow, and is a great way to start a record.
The remainder of the album alternates between faster, more upbeat tracks, and slower songs (such as ‘Sleep’ and ‘Sister Sister’), but the use of feedback and distorted guitars remain constant, with exception of standout track ‘Lovers In The Bathroom’, where the guitar solo’s bear more that a little resemblance to those of U2). Is this album original? Not particularly. Is this album good? Very much so – and that is all that matters.
