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GLASS KITES

Crossover Prog • Canada


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Glass Kites biography
Canadian band GLASS KITES was formed back in 2008, initially using the moniker Right. Following an initial EP and a number of live performances, the band decided to change the band name to Glass Kites in 2011. After that they hit the recording studio to create their full length debut album, which was officially released January 1st 2012 on the bandcamp website.

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3.86 | 21 ratings
Glass Kites
2012

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GLASS KITES Reviews


Showing last 10 reviews only
 Glass Kites by GLASS KITES album cover Studio Album, 2012
3.86 | 21 ratings

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Glass Kites
Glass Kites Crossover Prog

Review by Horizons
Collaborator Post/Math Rock Team

5 stars A glistening album that soars with sincerity and brilliance.

Glass Kites is a wonderful band that mixes indie styled songs with beautifully lush keyboards, an effortless singer backed by a first-rate band that oozes perfection. Leon Feldman, the vocalist, has a very warming tone that comes off very honest. By that i mean that when he sing it doesn't seem like he's really thinking, sure he sings clean and such, but i feel with a lot of vocalists they over-analyze the art of singing, which isn't the case here. The rest of the band is very professional. Drummer, Duncan Truter, knows well when to restrain himself and let the others bring their passion to the table or when to just amplify each composition with tighter fills, more elaborate fills, and just the purity of dynamics. Curt Henderson and Leon both fill the role of guitarist, which can come off similar to the styling of post-rock or a glossy lead role with quick spinets of sometimes jazzy lines. It's not surprising to see that Nate Drobner and Daryn Cassie both play keyboards or synths, with Nate on bass guitar. Both guys have a clear role in thickening and just adding much needed swells and atmospheric tones and chordal touches. There's some nice piano parts that typically intertwine too. In the most simplest way to describe these guys, they mix some aspects of Pink Floyd with the middle era of some Porcupine Tree albums - hope that does enough justice.

The album begins with a short keyboard and synth introduction, cleverly titled "Intro". You are immediately shown in with this track, the sounds are nice and don't come off cheesy - as well as throughout the album. I begins light, gradually adding small layers of more keys until it flows into the first true song, "Terra". Terra brings in guitar that mimics the soft keyboards in the background, the drums are simple and stay in the pocket. Halfway through, keyboards take a solo during a bridge right into a guitar solo. It's short and to the point. The band takes it one more notch with some more guitar parts, keys that are slightly like a mellotron but less vintage sounding, Leon echoes over them all with a strong deliverance.

"The Body" brings a different style to the table. The drums are repetitive, sticking to a cool bouncy groove that slowly grows more and more into an intricate monster by the end of the piece. The guitar is more in the background here but still has it's place. Early one there is a piano that is shaped by the vocal melody but later turns into the trademark swells and more broad synth chords. The ending here is great, the drums are at their pinnacle, guitar is back up front, the vocals end off strong, plus there is a quick piano solo for that great finishing taste.

"Soothsayer" shows the more indie side of Glass Kites. The structure is typical, has a acoustic guitar in there which won't be heard anywhere else on the album. Guitars take the forefront throughout the song, keys aren't that noticeable here, while the drums stay light, Duncan puts some subtle flexes of something interesting. "Break" comes next, and this is a short instrumental piece that has a more progressive feel to it, being a real letting-loose for the band. My only complaint? It's not longer - i feel like this could be a great part in another song or just a more elaborate jam. Still great though.

Then comes the beauty and power of "Mirror Me". Beginning in a very airy atmosphere, the vocals are soft and dreamy. The first half of this song is mainly a more laid-back ballad of sorts. The introduction of drums and guitar never distort the ethereal vibe and are profoundly executed. The second half crescendos to an awesome jam with another fantastic guitar solo. To compare this song to any experience in reality, it would be the feeling of emerging from a cave after begin chained in darkness. It just has that uplifting, empowered, and impassioned feeling throughout it.

Ending off this album is "Slowly (Home)". The lyrics have to be mentioned foremost. Something about the imagery is simply poetic and is sung with all of Leon's heart. Keyboards are integral here, drenching this piece with intensity. Likewise with the guitar, which has it's moment once the song reaches it's instrumental climax. The drums are simple, relaxed, and walk with the vocals through and through. This piece is just magical to me.

This album has reached to me in many ways, i find perfection every time i try describing it to myself or to a friend. Sparking inspiration in me is an easy enough way for me to determine this album's rating. Five stars.

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 Glass Kites by GLASS KITES album cover Studio Album, 2012
3.86 | 21 ratings

BUY
Glass Kites
Glass Kites Crossover Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

3 stars Glass Kites fuse a conventional neo prog sound with occasional eccentric turns. It mixes zany and interesting compositions with conventional and sometimes generic styles. Fans of laidback 1980s rock should enjoy this one.

"Intro" Heavy, airy synthesizer brings the album into focus.

"Terra" A steady beat carries on throughout this even soft rock song. The vocalist has an Adrian Belew quality. Smooth piano followed by electric guitar give the song further character.

"The Body" The drums here are flat and the rhythm is odd and unconvincing, while the off-kilter vocal melody leads into some pleasant, charming passages. Somehow it's like Radiohead, with some twinkling piano at the end.

"Soothsayer" Acoustic guitar provides the foundation for this unconventional chord progression. The song is upbeat but light.

"Break" This is a peculiar, aimless track that sounds like the middle of piece of music faded in and out.

"Mirror Me" Initially ethereal, the album's longest song is like full-fledge 1980s neo prog. The piano interlude is lovely, and builds with bulbous synthesizer and electric guitar, leading to the heaviest portion of the piece.

"Slowly (Home)" The album ends with another dirge-like tune, spacious vocals over a quiet progression. The gradual outro has a calming, easygoing effect.

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