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As I said at the time, I loved everything about “The TV’s Snowing” and its smart and original approach to the indie ideal—a way forward in a world of indie-chancers and pop wannabees….indposters, if you will. Well, if that song set off at an infectious pace, showing its sonic hand right from the word go, the new one, “Glass Figures,” prefers the slow-burning approach, the employment of the gradual reveal, to create its rather marvelous sonic template.
He probably had his mind on more weighty, spiritual matters at the time, but when Buddha said, “It is better to travel well than to arrive,” he could easily have been talking about “Glass Figures.” Maybe he saw something otherworldly, something enlightening in how it slowly added sonic weight, layers of tone and texture, to itself as it headed towards the final destination, although the chronology is obviously a bit out.
From delicate spirals of tremulous guitars and that standout vocal, the song raises its game in increments. Tribal beats drop in, thunderous sonics ring out, gnashing guitars join the fray, bruising salvos are fired off, and the song becomes heavier, deeper, broader, and more… well, just more…everything… until it hits the finishing line like a squalling, sonic maelstrom, finally blowing itself out and fading away, but leaving no doubt of its passing.
If “The TV’s Snowing” was the smart answer to the idea of the indie groove in the modern age, this is its grander, more poised, purposeful, and anthemic sibling, you know, the one that everyone feels pressured to live up to.
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