Spurring in the lesser-spoken musical oasis of Eugene Oregon has come, released into the world is the first full length record of the band [glazier]. Over the past few years [glazier] has released a handful of singles as well as an EP, though through their hard work have they brought about Phobias; and what a release. Phobias has been highly anticipated since its original announcement back in December of last year. [glazier] is a post prog indie trio consisting of Derek Sibert (Bass, Vocals) Andrew Srack (Guitar) and Grayson Z Andrews (Drums). The group has been renowned and adored throughout the west cascade region for some time, needless to say, Phobias has been very well received even since its very recent release. After playing nothing but the record on repeat for multiple days, never did it grow to be too much, nor too little. It always proved groovy precisely when it meant to, and chill when it needed to be. Nor did it ever grow uninteresting, from a musician’s perspective, every record go around revealed new opportunity to fixate on different melodic motifs, or rhythmic inflections that would have otherwise been missed, that a music nerd like myself must dissect (or we lose our minds). Overall, Phobias take the listener through a nostalgic trip where conventional musical structure is interjected with many sonic flavours of unique taste that keep the loved essence of prog rock and indie, but with all these unexpected pleasantries, wooing the listeners ears back for more.

A unique sensation I was overcome with on the record was their ability to treat the entire band as segments of a single instrument. Whereas most commonly are we instilled with the obvious preposition of, per say, a guitar, bass, and drum (or piano or any instrument) to be playing their own isolated part created specifically to be woven into the fabric of the song. Throughout phobias however, I was absorbed in listening to the overall, metaphorically speaking, living and breathing song in all its parts. Each piece being solely unique and interesting but deliberately placed in a way where these interwoven harmonies become even stronger in compliment to one another. Much akin to an orchestra that may craft their own intricate parts per instrument group but put together lay the fabric for musical quality to be taken to an entirely new level. Along with this unique composition style does [glazier] enjoy playing little tricks on their listeners through a variety of double stops, brief altered rhythmic sections, accentuated blue notes, and quick leading melodic runs that introduce an assortment of what musicians refer to as “ear candy” or an ear catching phrase that uniquely grabs the listener either through an unconventional change, an unexpected flavour, or even just a cool phrase. As in “tone deaf lullaby“ where the section turnarounds sometimes feature interesting characteristics such as an unexpected extra beat, a rhythmic alteration, or a triplet run that constitutes that musical ear candy and grabs your attention. Or how the record concludes on the tune “Hira and Yon” that opens on a very fun 6/8, 5/8 timing that slides seamlessly into a set groove before going into a full on groovy rock section that make you feel as though you have conquered the largest magical mountains. And of course, concluding the record with a couple spicy little turnarounds that can only be summed up in the very direct phrase “woah”.

Along with this view of the entire band as a single collective instrument, [glazier] is careful to employ such devices as snappy, punchy basslines over quick, clean melodic guitar runs. Inversely as in the song “dig through time“ having a revolving groovy bassline underneath ethereal special guitar sections. This interplay between the two instruments let each other highlight and expand on musical motifs without ever stepping on each other’s proverbial toes, or creating overbearing, conflicting grooves. [glazier] is very adept at a tradeoff of focus for the main musical elements. Sometimes it fixates on the bass, trades off to the guitar, or forefront the vocals, and even some drum sections, as if a painting tantalizes one to fixate on different aspects within itself at any given moment. As a trio they are allotted the special element for each instrument to fill more sonic space on the record as there is little to conflict with each part. This allows the group to further expand on musical ideas, and timbres throughout the record. Along with this, Phobias production allows each instrument, including the vocals, to really fill the sonic spectrum and breathe (so to speak). Rickenbacker and Gibson go together like ramen and cheese, a hidden secret that when discovered leads to great, lifechanging things. The bass is snappy, poppy, large, driving, and crunchy all at the same time, yet lays down under driving rock sections with no issue really providing a big low-end support for the music. The guitars are light, ethereal, and ever-present when they need to be, yet articulate and precise and driving when they want to be. The drums are crisp, deliberate, and never take up too much nor too little room. The recording style retains that classic vintage production we all know and love, lending itself to a very organic and dynamic production that really brings this record to life.

Phobias is like your favourite eleven layer lasagna (one for each track) where every layer being unique on its own, but still adding to the fully finished product. Overall, the record builds a nostalgic “familiar but different” sensation that lends itself to a timeless relatability from a great many different genres, regardless of what one may be partial to, there is something in Phobias for everyone. Songs such as “gaslight at the end of the tunnel” employ modern progressive technical changes. Whereas “Please hold the Phobias” blend your favourite rock elements with all the best classic indie elements that bring one right back to the late 90s- early 00s; a perfect modern day “classic banger” everyone can relate to. The uniqueness, and careful delivery in instrumentations, overall groove, as well as the diversity in musical styles and motifs used over each instrument all add to the records replay ability. Each tune has a myriad of new discoveries in each instrument’s direction, as well as how it works in the totality of the music. The record is a well-deserved feat from the band and their hard work. Phobias is a collection of good performance, well crafted song structure, and great sounding capture that establish it as another great record release of May. If [glazier] is starting their lp discography on such a strong foot, fans (as well as here in the shop) must be highly excited what the band has in store for the future.

Music by Alexandria Bonanno and [glazier] with lyrics by Alexandria Bonanno on “bets are made“

Tracked by Edwin Paroissien at Echohill Studios:

Mixed by Jeff Wiseman at ZnB Studios

Mastered by Timothy Stollenwerk at Stereophonic Mastering