Glasser en showcase @ Balades Sonores

“High-wire vocal exercises, supported by skittering electronics and nods at folk”–The Guardian

“Ethereal, weird, funny, and mesmerizing”–Variety

“Somber strings with bewitching beats”–NPR

Born in Boston, raised in the Bay Area by musician parents, Mesirow’s mother was a founding member of Human Sexual Response, a queer new wave band who performed in the late 70’s into the early 80’s.
Glasser crafted GarageBand demos that pitted her delicate, swooping vocals over sparse electronic rhythms and circular melodies that evoked avant-garde music and global folk at the same time. These tracks made their way to labels True Panther andYoung Turks, which released both her albums. She self-released‘ Sextape’, an intimate project that built her production around conversations on formative sexual experiences, which was praised by fans and critics alike, before signing to One Little Independent Records, marking her next creative step.

Glasser, the elevated electronic project from Cameron Mesirow, has released the expanded version of her third album ‘crux’.

The album mapped journeys of cathartic self-discovery, specifically her meditations onthe fragility of life and the delicacy of relationships in times of uncertainty. ‘crux’ is about the importance of creativity and writing while healing, and on an individual level, looking inward and the examination of one’s grief, anxiety, and insecurities.Apart from her majestic 2022 single ‘New Scars’, ‘crux’ marked a return following her sublime ‘Sextape’ mix in 2018 and two criticallyacclaimed albums, ‘Ring’ and ‘Interiors’, released in 2010 and 2013 respectively.

In this time Glasser performed at MoMA, PS1, TheWalker Arts Center, MOCA, Coachella, Primavera, Latitude, Field Day, and she toured with the XX and Sigur Rós’ Jónsi.
She’s also collaborated on remix projects with the likes of Fever Ray, Jamie XX and John Talabot.

Glasser explains;
“Just getting back to making songs was hard for me after the last album. When I made my first album, I didn’t have an established routine of trying and failing, it was very immediate. The second record was made after a few years of touring, which is a very unstable life, and I still didn’t establish a relationship to creating things regularly. After its release, I didn’t have a centre from which to recompose myself.”
The thing that finally brought me back to music as a positive experience was that I began taking lessons to learn Balkan singing.  I wanted to try to learn all this vocal gymnastic stuff that I was listening to in the Bulgarian state television choir records. I started writing songs and working toward an album.”