Review Summary: A delicate spritz
Let the record show that Mike Hadreas aka Perfume Genius knows how to commit to the bit. Whatever end of the queer joy-rage spectrum he sets his sights on, he hurls his heart into the crossfire, often ushering in a sense of apocalyptic urgency. Dynamic songs like “Queen” off of
Too Bright reveal the gay agenda to be outright warfare (“no family is safe/when I shasay”) and
No Shape’s “Slip Away” describes a romantic love so fierce and powerful as to drown out the world from sheer force of will. It’s powerful stuff, often overwhelming in the best ways. His last effort,
Ugly Season, was his most ambitious yet, soundtracking a ballet he had envisioned with abstract and dangerous music that was, if nothing else, provoking.
Glory continues this level of commitment, this time turning the effort inward to find peace. The violent, world-ending stakes are denied entry, this time replaced by a gentle calm that opts to spritz some lavender on your pillow rather than punch you in the gut. It’s a gorgeous, relaxing listen that finds its lush instrumentation produced to perfection, with every pluck of the piano or exhaled brass finding a cozy nook to call home. There’s just one problem: there’s no room for us.
Despite the obvious beauty on display, there’s a thick veil that I just can’t seem to lift in order to fully connect with the work. Try as I might, a good portion of the record seems to roll by its picturesque scenery without causing too much of a stir, with “Capezio” and “Hanging Out” challenging the confidence of my object permanence. I am fully ready to accept that this may be a “skill issue” of my abysmal attention span, but “Left For Tomorrow” provides an oasis of distinction by arguably being the chillest song on offer, with its sighing saxophones and fretless bass ushering in serenity. Unfortunately, it’s followed up by the lone outright dud, the semi-obnoxious “Full On” that ironically misses the mark with its aimless monotony. It’s no surprise that two of the better efforts (“Clean Heart”;”No Front Teeth”) are the most conventional, approximating those proclamations of yore rather nicely, albeit with a softer touch.
I want to like
Glory more than I do -because I do like it! Mike’s vocals are alluring as ever and the sprawling production piques my interest enough to want to give it another go, hoping that this time the blurry edges will finally come into focus. There’s still enough on offer that makes this suggestion of bliss a worthwhile, if not outright good, time, but ultimately this journey of peace within has me feeling slightly without.
