The cover of the new Glasser release, Interiors, shows frontwoman/conceptualist Cameron Meslrow dancing in a reflective sea of liquid metal. She appears to be molding it into a shape, even as she is being distorted. It’s an appropriate image for the music within. The music is meticulously crafted on computers, full of sound effects that beep, whir, burble, and whoosh; it embraces its artificiality. Meslrow sings the body electric over these dynamic mechanical compositions with a high, girlish voice that somehow manages to be detached and vulnerable at the same time. Song titles center around processes or shapes: “Dissect,” “Divide,” “Window,” “Forge,” “Landscape.” It sounds like a catalog for a minimalist art installation. The lyrics deal with abstract concepts, like isolation and the act of creating art. While there is a Laurie Anderson aspect to Meslrow’s delivery (the icy detachment) her melodies and the rhythms are catchy. Interiors bridges the gulf between high concept art and ear candy. Glasser makes art pop that’s actually fun.
Craig Laurance Gidney 
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