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Lovesliescrushing, "Glissceule"
Finally returning from an unbearably long six-year hiatus, Scott Cortezand Melissa Arpin-Henry of Lovesliescrushing release their third albumof complex and lush gossamer guitar-based ambience. The band departedfrom the Projekt label to join up with the Conneticut-based Sonic Syrup(on which Cortez has released material under his Astrobrite moniker).
The label changeover becomes most obvious with 'Glissceule''s lack ofthe striking artwork which graced the covers of the band's first tworecords, 'Bloweyelashwish' and 'Xuvetyn'. Musically much in the samevein as some of Darla's Bliss-Out series releases, the 17 tracks(spanning just over 77 minutes) have an airy, meditative quality andnot as much dirge as the album's predecessors. As a result,'Glissceule', though no less enchanting, is somewhat less dynamic(although it manages to avoid lapsing into homogeneity). In any case,Cortez's emotive, delicate, blanketed layers of guitar andArpin-Henry's soft, unintelligible siren vocals, electronicallymanipulated to the point of absolute unearthlieness, are still present.This is the first Lovesliescrushing release to utilize digitalprocessing (although the album was recorded using analogue means). Theeffect this has on 'Glissceule' seems to be that of an overallsmoothness in production that is not as evident in the band's previouswork. I am at a loss to explain why I so often see Lovesliescrushingget lumped along with other "shoegaze" bands, as they have always mademe think of what Main might sound like if they had a vocalist and putout a record on 4AD in 1985. As for 'Glissceule', it is not likely todisappoint the band's longtime fans, and will surely make some newones.
The label changeover becomes most obvious with 'Glissceule''s lack ofthe striking artwork which graced the covers of the band's first tworecords, 'Bloweyelashwish' and 'Xuvetyn'. Musically much in the samevein as some of Darla's Bliss-Out series releases, the 17 tracks(spanning just over 77 minutes) have an airy, meditative quality andnot as much dirge as the album's predecessors. As a result,'Glissceule', though no less enchanting, is somewhat less dynamic(although it manages to avoid lapsing into homogeneity). In any case,Cortez's emotive, delicate, blanketed layers of guitar andArpin-Henry's soft, unintelligible siren vocals, electronicallymanipulated to the point of absolute unearthlieness, are still present.This is the first Lovesliescrushing release to utilize digitalprocessing (although the album was recorded using analogue means). Theeffect this has on 'Glissceule' seems to be that of an overallsmoothness in production that is not as evident in the band's previouswork. I am at a loss to explain why I so often see Lovesliescrushingget lumped along with other "shoegaze" bands, as they have always mademe think of what Main might sound like if they had a vocalist and putout a record on 4AD in 1985. As for 'Glissceule', it is not likely todisappoint the band's longtime fans, and will surely make some newones.
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