Review Summary: A trip down memory lane for stoned space rock fans, “Glass Giant” has mixed results, but provides hope for a bright future.
New-to-the-scene Los Angeles psych rockers Sidewave play their own blend of alternative pop and 90’s space rock revival comparable to bands like Failure, Hum and Spacemen 3. The scene was defined by ethereal vocals, airy compositions and a nearly shoegaze-inspired approach to the mainstream british and american rock music of the 1990’s. Decades later, Sidewave drop “Glass Giant” a nearly hour long homage to that scene. Despite monotony, Sidewave manage to deliver an LP with a few sparks of brilliance hidden beneath its rough surface.
Here’s the problem with Sidewave’s debut LP- it can’t justify its length. Clocking in at just under an hour, nearly all tracks on “Glass Giant” tend to blend together. Many melodies mirror previous ones, some songs have fat that needs trimming, and there isn’t enough diversity in dynamics between songs to keep the listener engaged throughout the entire record. Tracks like “Romance is Dead”, “Honest to God” and the overlong “This is Who you Are” are forgettable and exist in the shadow of similar, yet far better tracks.That being said, Sidewave’s debut LP may have been more effective as an EP; in addition to the few moments of genius, there are a few complete songs that are absolutely delightful and stand out among the rest of the pack.
“Pines” is a near masterpiece, and perhaps one of the best rock songs of the year. Romantic undertones follow a jaw dropping guitar hook intro, and the chorus is enormous. That single melody sung in the chorus puts some of the more bland counterparts on the record to shame. “Sundrop” is also breathtaking, swimming with groovy guitar lines, intricate drum fills and loveable hooks. “Illusion of Light” and single “Supersonic” are also noteworthy, marijuana drenched rock tracks showcasing some of the best songwriting to be found on the record.
For every infectious melody and admirable idea, there are several missteps. Stylistically, the robot vocals from singer Phil Golyshko recreate the space rock scene beautifully, echoing Justin Broadrick in his Jesu project. But whereas Broadrick understands how to compose each song to stand out from the next dynamically, the vocals on “Glass Giant” are undoubtedly samey and aren’t supported by a diverse songwriting approach to match the vocal tone. In other words, Sidewave definitely have the style down pat, but when the substance often fails to match, it can be frustrating. Songs like “Grounded” and “Lace” introduce you to the record stylistically, and are performed well by all Sidewave members, but as songs, they don’t carry the weight the listener thirsts for. It is only later, on tracks such as “Sundrop”, “Pines” and “Moonshine” that style meets substance.
Complaints aside, “Glass Giant” is produced brilliantly; former ISIS mixer Aaron Harris has a clear grasp of what this genre is supposed to sound like. His ability to highlight the constant volume swells, harmonic dirges, and pulsating drum fills are nothing short of astounding. Even when the weaker songwriting takes over, it sounds awesome. Seasoned tokers will adore the atmospherically inclined sound design as they inhale and drift away.
“Glass Giant” could have been a strong release if it was the half the length. Sidewave clearly understand how to interpret the 90’s space scene in their own fashion, and they play it well throughout the entire record, but need to write more songs like “Pines” and “Supersonic” if they want to release albums that last an hour. It’s rough around the edges, but “Glass Giant” shows that Sidewave have the potential for excellence.
