These songs were written between August 2014 and July 2015.
Recorded on the 19th & 20th of July 2015.
Post-Echo
credits
released February 5, 2016
All songs written and performed by Gláss.
All songs, except for Jimmy Fountain, Recorded, Mixed and Mastered by Jay Matheson at The Jam Room Recording Studio, Columbia, SC.
"The frigid post-punk of Gláss casts a black, cold, spectral shadow. It has the kind of clamoring guitars and nimble groove of early 80s post-punk bands like Josef K, but with a much more downtrodden tone. Against a combination of jagged guitars, doomy bass lines, and darting percussion...chilly unaffected delivery is spine-tingling." - Stereogum
"The Athens, Georgia by Greenville, SC trio bring the cold post-punky variété that blends a surf guitar riff that rifles up the foreboding chord cornucopia from Aáron Burke, Aryán Davani, and Sám Goldsmith in a hurricane frenzy that makes the pale of discontinuity an object of desire. Lyrics like “I can’t see my hand in front of my face, I can’t see my face in front of the glass” take the obfuscated perspectives and dash them into an apocalyptic rendering of Dick Dale progressions that are met with fatal stakes and an unsettled feel of finality that revolve around mortality obsessions heard in “the death of me” refrain" - Impose
"Athens, Georgia band Gláss offer a unique take on classic gothic post-punk on their debut album, which is due out in early 2016. While the minimalist power of Joy Division looms over the trio’s music like a specter, they add a very strong surf rock and punk aesthetic, and that combination of darkness and energy creates a potent dynamic on the cheekily titled track 'Glass(-accent)'" - Popmatters
"After the release of the incredible Glass(-accent) on September 28, the crew from South Carolina are bound to take the US punk scene by storm. The sound of shoegaze meets the rebellion of punk. Glass(-accent) is a real statement of intent. Ones to watch in the future. A big 8/10." - Third Outing
"The track features dark, monotone vocals brought to life by skittering guitar and rapid-fire percussion and anchored by driving bass" - Transverso Media
"The album displays an obsession with well-organized chaos—Burke, bassist Ary Davani, and drummer Sam Goldsmith delight in playing their instruments in straight and non-parallel paths, then finding their way out of the tangle. Imagine the frosted despair of Iceage hovering near the freezing point, close enough to see life on the other side but still unable to move." - FLOOD Magazine
"Gláss means business. I don’t mean that in a way that places them in the realm of overly serious bands, but you can’t help but understand the vision the trio were gazing at when they created Accent. You open your eyes into darkness on the album. The limitations of the darkness are unknown, but as you carefully place one foot in front of the other, you eventually squint to see the flickering light." - SoundChips
"The debut LP from Gláss, Accent, is easily one of my favorite post-punk releases of this decade... strong, driving bass presence, courtesy of bassist Ary Davani, and an endearing vocal performance from guitarist/vocalist Aáron Burke (who resides in Athens, GA) helps make Accent an early contender for my AOTY." - Creative Loafing
"If your record collection is stacked with LPs by Swans, The Fall, Joy Division, and the like, you’re going to like Gláss. Spiky, icy, and gothy with well-crafted, memorable moments and tones, they fit well in the ‘80s post-punk revival canon à la iceage and Protomartyr. The trio just released their debut LP, Accent, on the label Post-Echo; from the high praise it’s received so far, we’re sure to be seeing more of the young band in the future." - Connect Savannah
"Gláss’ new album Accent- is a phenomenal, retro post-punk LP. Droning basslines, crystal guitar cleans and verbed-out noise on track like “Pheasant Of Furs” balance the more spastic tracks such as lead single from the album “Glass(-accent).”
Their patience (i.e. “Consumers Remorse”) is what sets Glass apart from other post-punk outfits. Their songs simmer and build and know you don’t always have to finish with an uppercut to win the match. “Stifling Quarters” and “Hotel/Motel” are my two favorites, with previously mentioned “Pheasant of Furs” and “Glass(-accent)” being standouts as well." - Stereofly
“There’s a ghost in me” purrs that stormy lead vocal, a shadowy depiction of nightly lusts and loathing that seems to come in waves, as the track builds towards its powerful, combative crescendo, the kind of swarming finale that positively begs you to turn the whole thing up and listen again. Dramatic and enveloping" - GoldFlakePaint
"The shoegazey, Jesus and Mary Chain-y track has a mid-tempo, laid back feel that’s good for headphones." - Brightest Young Things
You’re not Real has a post punk influence; there’s rumbling bass mixed with an 80′s guitar sound. At times the guitar chimes, and then this menacing tone takes over. This dichotomy works. It’s kind of like walking through the rain and then the sun comes out and is obscured by dark clouds again. - Stagedive Malta
"Burke’s vocal fluctuation is calmly minimalist as a trembling sunset appears in the horizon. Ary Davani’s bass lines walk step-in-step behind you, but more as a protector than as an ominous spirit. You expect the drum roll to fade, but you’re greeted by a shadier twist. As you hope for an upturn, the outcome doesn’t look too positive with the almost guttural closing tension. And that actually makes us want for more." - Soundchips
"Immediately apparent from the beginning of "You're Not Real" is a certain sense that something, however undefined, is coming. Like a sunset seen through the thickest smog, or a pulse of light coming from the remnants of a dead star, a certain sense of hopelessness and disquietude oozes from every part of the song, from the way the crystalline yet dissonant guitars dig into themselves, the sprightly yet lumbering drums, and the cold, disaffected vocal delivery repeat “you’re not real in any way”." - Transverso Media
"The muted energy of “You’re Not Real” bubbles with an expectation left intentionally unfulfilled, leaving the listener hanging on every aloof phrase and bitter chord. The shallow rising action underlines an intensity Gláss has been able mine from the early days of post-punk, recalling luminaries like the Jesus and Mary Chain and For Against.
The recent transplants from Greenville to Athens bring a visceral darkness to the Classic City, delivered with a clinical attention to detail." - Immersive Atlanta
Terrific, marauding post-punk that will thrill fans of Idles with its pairing of cutting riffs and wry spoken/sung lyrics. Bandcamp New & Notable Mar 26, 2022