|Other People Records||Nov. 17th, 2017|
Gleemer — Anymore (Nov. 17th, 2017) •→ “Hard~hitting but always poignant…a wonderful starting~point for the new record, the now signature sounds of the band feeling as pertinent and, more importantly, energized as ever before.” — GoldFlakePaint
•→ What other bands originated influence for the dream~pop sound you guys have found?
•→ Man, my favorite dream pop bands are Cocteau Twins and Pains of Being Pure at Heart. I don’t really listen to any dream pop other than those two bands... Absolutely love them though. Some of my favorite music ever made. Other than that I got really into old Title Fight & Sun Kil Moon during this album. Very different, but they influenced a lot of the melodies (SKM) and the aggression (TF).
Location: Fort Collins, CO
Genre: Indie Rock, Indie Pop, Shoegaze, Dream Pop
Album release: Nov. 17th, 2017
Record Label: Other People Records
01. Basketball Casino 3:29
02. Soothe Me 2:58
03. Come Down 3:15
04. Pressure 3:44
05. Sunday 1:23
06. Cooler Pt 2 3:53
07. Dryness 2:52
08. Porcelain 2:48
09. Light Out 3:16
10. Not Around 2:07
11. Gush 4:26
•→ Corey guitarist/vocalist
•→ 190 Black Vinyl
•→ 60 White Vinyl
•• Started as the solo project of guitarist/vocalist, Corey Coffman, Gleemer blossomed into a full~fledged band throughout a string of releases, including 2015’s Moving Away, which garnered the group more attention and set the stage for Anymore. For the making of Anymore, Coffman and multi~instrumentalist Charlie O’Neil hunkered down in the home studio that Coffman built in his parent’s house and the duo created the new record piece by piece, engineering and playing everything themselves.
•• The resulting album resonates with the comfort of old friends and its warm blend of emotive ’90s rock and shoegaze offers a new spin on familiar textures. Coffman’s singer/songwriter influences shine through in his episodic lyrics that paint detailed scenes, recounting the smallest details that will later become significant. This attention to detail is Gleemer‘s strong suit with Coffman’s meticulous production bringing out the best in the band’s dynamics from the subdued atmospherics to the towering fuzzed~out climaxes.
NOVEMBER 17, 2017
•→ As the holidays are right around the corner, the time for longer nights is upon us. Luckily, music is something of a must in nights where the stars are bright and it seems all too dark. Gleemer is here to settle the length and emotions of those night with their record Anymore. Embracing elegant textures and an atmospheric cadence, opener “Basketball Casino” focuses on the swelling echoes of sound. Soothing, soft vocals are delivered across the ambience; allowing for the larger sounding end to make more of an impact immediately.
•→ Across the album, the textures grow ever more. “Come Down” opens with distortion grazing guitars that corrupt (in a good way) the mix with a bit brighter of a tone, allowing for the melancholic verses to settle but ignite under the chorus’ spacey vibe. Even with the more gritty and full sound, a song like “Cooler Pt 2” is more dense in what isn’t presented, giving the drums room to breathe and the emotion more space to collect within. Gleemer thrive on providing music that is rich with layers of detail and a passion that is instilled through the larger soundscapes. “Porcelain” is hypnotic in its presentation, thanks to the guitar structure and trudging pace.
•→ New Noise Magazine is pleased to bring forth the in depth experience of Anymore by Gleemer with this track by track provided by vocalist/guitarist Corey Coffman. Listen to the expansive release below and read what Coffman has to say about each song.
1. Basketball Casino
•→ This one is probably the oldest song on the record. I recorded a version of this back in 2014. Charlie and I’s good friend Matt (he left the band to get married… we’re still really tight) actually arranged this one. He always loved the early version I did, and out of nowhere sent me a Garage Band demo of the version that’s on Anymore. Charlie and I loved it, so we fully fleshed it out. It’s fun to work on songs I had forgotten about. It captures a specific moodiness from that time in my life.
2. Soothe Me
•→ I remember coming up with this song in my bedroom and being pretty excited about it. It was one of those nights when you feel like you can never write a song again. I was sitting on my bed playing guitar without thinking much and ended up coming up with almost all the main hooks out of nowhere. When I worked out the guitar parts with Charlie it really clicked. The album didn’t really have a high energy song at that point, so it was a nice addition.
3. Come Down
•→ I think we wrote this one on 4th of July 2016. It was a hazy night, and we were writing as the sun went down. On top of that it was the first concrete song we had for Anymore. I had been sitting on the chorus part for quite a while, but couldn’t figure out solid verses. Charlie had all the missing pieces I needed. The chemistry we felt assembling this song was so cool. That night is really vivid to me, and became the catalyst for the development of Anymore‘s emotional intentions as an album.
•→ I remember being inspired by Smashing Pumpkins’ “Today” for the intro line on this one surprisingly enough. The mood was so clear for me. I can still vividly imagine the scene that unfolds in my mind as the song plays. I would explain to Charlie how I wanted it to feel, and he’d help me achieve that.
•→ The ending chord progression on this song is probably my favorite on the entire album. I was obsessed with those 4 chords for a good 6 months. It felt like this memory so close to my heart that I could play to comfort myself. It felt like light coming through the curtains in the morning. It felt like relief. Every time I sat down to play guitar I would play those 4 chords over and over. I’d like to re~visit this song someday, but we felt it’d be coolest for now as sort of a pit~stop for in the middle of the album.
6. Cooler Pt 2
•→ This song marks the return of Matt’s arranging. Along with the demo to Basketball Casino he sent me this new version of “Cooler” all demoed out. I have extremely specific memories of coming up with this song in my room at my parents’ house while I was living there, so I was sold on it immediately.
•→ This was originally my ode to Mark Kozelek, but ended up being more of an ode to Smashing Pumpkins. I had the verses, choruses, and drum vibes all sorted out on my own, but Charlie really brought the song to life. It ended up being significantly more aggressive than I planned, but it sounded so cool, and got me very emotional. Charlie’s lead work on this song might be my favorite.
•→ This one was an older track. I had it demoed out before “Come Down” even. Porcelain just felt like a Gleemer song emotionally to us. All the parts came really naturally. I think we had the entirety of it written within one or 2 practices.
9. Light Out
•→ “Light Out” is one of my favorites! It takes a bit to really dig into, but it has a mood that I don’t think Gleemer has ever been able to capture before. There’s a really specific heartache in it that sort of prods at you throughout the song. The bridge lyrics of this song are actually lifted from an old demo of a Gleemer song Matt did years ago!
10. Not Around
•→ This one felt like it came from the same world as Sunday emotionally which is why we decided to record them both a little more raw. There’s a quote on the back of the album art that really captures the feeling of this song. Not Around was written almost immediately in a moment, like Soothe Me. I didn’t labor over the arrangement at all. What I recorded was the first idea I had, which doesn’t happen often, but it felt really right to me. Even the electric parts I just wrote as I was recording. It feels to me like I found a home movie of someone else’s life, and I’m watching the clips wondering who these people were.
•→ “Gush” is my favorite song on the album. It just feels like the end. The last lyric, “why don’t you wanna talk about it?” really hits me. It’s pretty open ended conceptually, but the context of the song and the music makes it feel more specific. It gives it a specific weight. There’s a back and forth to this song that I think encapsulates what Charlie and I tried to achieve with Anymore. Even apparent in the cover art, it’s that feeling of driving away from a house for the last time. It’s the complicated relationship between regret and peace.
•→ PAUL BROWN FINDS MUCH TO DELIGHT IN FROM COREY COFFMAN’S NEW RELEASE
BY PAUL BROWN ON MONDAY, NOVEMBER 13TH, 2017; SCORE: 4/5
•→ Gleemer is a project which has come a long way in a fairly short period of time. Starting out as a solo endeavour for Colorado born Corey Coffman (then resident in New York), as his songs started gain an audience, it fleshed out into a full band which took him back home to the Rockies to focus properly on it. As Gleemer’s membership has gained a clearer identity, perhaps inevitably so too has their music.
•→ This really started to become apparent on 2015’s Moving Away, when the tumultuous noise which was one of most prominent features of much of their previous work started to drift into the background. In its place, the inherent melody of their songs began to emerge into the light, as did Coffman’s vocal, thick with emotion.
•→ Anymore sees Gleemer striding further down this road, and their confidence in their work is plain to see, from the beautifully melodic opening one~two of Basketball Casino and Soothe Me. It sometimes feels like a bit of a back~handed compliment to praise how well~constructed a rock record feels because it suggests a lack of thrills, but there’s plenty for those of us who get our kicks from pandemonium to latch on to. Come Down brings chaos from the get~go, and Dryness is one of several songs which bursts invigoratingly into life.
•→ All round, Anymore is a brilliant record and an ideal soundtrack to the colder season. Many bands wear the slightly interchangeable tags of shoegaze, dream~pop and noise~pop, but few do so quite as immaculately as Gleemer.
Interview by Dillon Crader
Q&A with Corey Coffman of Gleemer (DEC. 27 2015)
|Other People Records||Nov. 17th, 2017|