Cameron Mesirow is a young American woman with a crystalline voice and a limpid spirit, who goes by the name of Glasser. Surely many of you have heard of her at this stage of the game, as most of the music world has already heard of her talent and how pleasant it is to listen to this woman create and make music. Looking no further, the artistic-friend combo made up of Delorean, John Talabot, K**O and allies have been singing her praises from the blog Desparrame, which is sort of the official bulletin of their musical processes and passions. Beyond them tooting their own horns for their own remixes (here there is one of Delorean ’s and here is another of Talabot ’s) or the camaraderie arising from sharing the True Panther label, these people can’t stop using “pretty words” to refer to this young woman, who we had already heard of thanks to two singles (here is one and here is the other), leading one to foresee a brilliant debut LP. This expectation can be counterproductive—we’ve seen it a thousand times. But this is the first good thing about Mesirow: she is from another world, a mystical, mythological, organic world in which there are no expectations, blogs, or remixes; there is only her voice sliding along a frequency that can connect with an instinctive ancestral bend and a mysticism inherent in every human being.
These references to mythology and mysticism are not in vain if we take into account that Glasser has used the chiasmus (a narrative structure that appears repeatedly in the classics) to give shape to “Ring”, and this is where the name comes from. All of the songs on the album have their pair except “ T,” dedicated to her best friend and companion in the Auerglass project, Tauba Auerbach. “T” speaks of friendship, of Tauba, the only tangible concept in the album. And it fills the central role in the list; starting there, the songs unfold like a rice-paper pai-pai, 360 degrees, completing the ring, closing the circle. “ Plane Temp” and “ Tremel” shelter “T” with their peaceful, somewhat sweet tempo. Starting there, the progression darkens and the sound turns wilder. Like the contrast of sharp vocals with the low bass of “ Mirrorage”, or the tangle of the melody of “ Glad”. It even reaches extremes: “ Apply” and “ Clamour”, in which percussions play a very central role, almost seeking to emulate some sort of ancestral hymn. In this manner, a symmetrical spiral closes with an incredible capacity for wrapping you up and sheltering you, placing you in the middle of a hurricane without violence, leading you to let yourself be swept away at her will. The melodic play of her voice, the abstraction of her discourse, and the organic, animistic qualities that they create as a whole are the formula for a white magical spell.
Comparisons with other divas of the ethereal like Björk or Fever Ray are almost obligatory; especially in the case of the second, since Van Rivers and The Subliminal Kid –who produced a part of the solo debut of Karin Dreijer Andersson– participate in the conception of “Ring”. Nevertheless, Cameron Mesirow is still very far from reaching the levels of snobbery and creative deviousness of the other two figures, and it is difficult to imagine that she will one day, because every section of “Ring” – both the darker and lighter parts—give off an air of overwhelming simplicity, in spite of this laborious production. In fact, the most expensive aspect of the production work must have been ensuring that the choruses, those layers of string instruments, those thundering trombones and wonderful percussions and tribal rhythms didn’t sully Mesirow’s good, innocent, white magic. Because if Salem is black magic, the Anti-Christ, the eye of Sauron and the Nothing killing the Childlike Empress, Glasser is the musical nemesis, the fairy godmother, the elfin essence and the power of Áuryn. If there had been a mythological figure to join the magic of the nymphs and the natural world with the magic of the muses and all of the artistic, this being would have been reincarnated as Glasser. Word.
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