A sense of psychogeography hums underneath the surface of a lot of music. Yet in Glasser's new album, Interiors, it is not just present, but a part of the thematic foundation. Not too long after Glasser's Cameron Mesirow released her debut album, Ring, in 2010, she moved from her horizon-stretching home state of California to the vertically-crammed spaces of New York. In a city where space is premium, "space" would become a fixation for Interiors, a guiding concept for a collection of textured electronic songs that are both dense enough with ideas to fittingly reflecting the physical environment that they were nurtured in, as well as sonically expansive enough to stretch and breathe unconfined.
Glasser Band Interview Feature Text by Ian King; Original Interview by Ingmar Carlson

"Pop music shouldn't always get a bad rap," says Top Pops!, a recurring selection of indie pop highlights across a selection of styles, updated every month to keep you on your dancing toes. Glasser graces us with her audio-visual explorations, Shy Girls croon their way into new hearts, CFCF gets slightly less theoretical, and more from Tezeo, Weird Owl, Club 8, Bam Spacey, and Hollow & Akimbo.
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Glasser - "Shape"

There are some artists I've seen live and, as a result, began to trust with utmost faith. Cameron Mesirow is one of those artists -- and this trust lies firstly in her live demeanor, secondly in her artistic style and collaborative pieces, and thirdly in her music on its own. There's a sense of neo-spiritual strength in Mesirow's live energy and the way she holds her head up high that is truly respectable, and a new Glasser album has been something I've been excitedly awaiting since the release of 2010's Ring. Interiors will be out this October on True Panther Sounds and will incorporate a number of exciting audio-visual projects, which we will get into more in-depth next month with our interview with Glasser. For now, the album's first single, "Shape", combines the same sense of mature groove and wind-blown seaside whimsy that Ring incorporated; and the lyrics are entrancing throughout, but it is with the lines, "In the light of the truth all I can do is bow," that the force that is Glasser shines through. Music video visuals by Jonathan Turner. While we're at it, let's also talk about the operatic vocals of "Design", which slip and slide over a rotating landscapes of minimal synthlines and drum exchanges. There is so much to love in this track -- and somehow the slithering sexuality of this music video, also directed by Jonathan Turner, makes perfect sense to me. Says Glasser about the piece: "I'm chasing after the next feeling. 'Design' is probably my favorite piece that I have ever written. It's a moment of joy that exists in the anticipation of ecstasy. Which is the better feeling? Both are delicious phantoms that we'll only ever glimpse again upon reflection of a new experience. This is my best attempt so far of trying on the phantom, wearing it as my clothes, possessing it as my own object." GLASSER - INTERIORS TRACKLISTING 1. Shape 2. Design 3. Landscape 4. Forge 5. Window I 6. Keam Theme 7. Exposure 8. Dissect 9. Window iii 10. Window ii 11. New Year 12. Divide
"I like music where you're not thinking about what a specific instrument is... an instrument-less quality. It doesn't come from a band, but from a whisper in the wind." - Cameron Mesirow of Glasser, of her upcoming record, Interiors