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Blurring the lines between math rock, post-hardcore, and melodic metal, Seattle, WA’s Glass Noose has crafted a record that draws proudly from the indie rock canon while sounding very much of the moment.
The creation of Tristan Zemtseff – who wrote, performed, and recorded the entire record themself – The Migration takes the listener on an intimate, brutally honest exploration of duality of what life has been for us so far in the 21st century. Over the course of a brief seventeen minutes, Glass Noose eloquently articulates the subliminal anxiety that permeates a society poised at an existential crossroads.
About the album, Tristan comments “These are some of the most ambitious songs I’ve ever written, and somehow most of the process felt very much like a flow state, whatever people mean when they say that. For me, lyrics are usually the toughest hurdle to clear, but with these there were a few lines that just jumped right out and from there I think I was able to take the music to places I don’t think I would’ve gone to without those lyrics. These songs cover a lot of ground, and I’m proud to say that I don’t think a single second is wasted.”
“The Migration” started in Chicago as a direct-to-vinyl shut-in session with Leesta Vall Sound Recordings. Not long after moving though, Zemtseff couldn’t shake the feeling that the song had more within it that need to be developed – and was able to use the original framework to craft a more complete piece that offers considerably more sonic and emotional weight than the original. “End Times” was composed entirely after their relocation to Seattle, and both songs were recorded entirely at their home studio. “End Times” features additional vocals by JOHVNN, Aary Renee, Allie Ellison, and Austin Ramsey.
The two halves of this concise record are thematic siblings. One is longing and mournful on the surface, but ultimately optimistic, while the other is entirely pessimistic. Each can be split into two parts, in which the second section takes a motif that was established in the first and reframes it both rhythmically and melodically. “People everywhere are now capable of communication and creation in ways that were unthinkable just a few decades ago” says Zemtseff. “And yet, so much of what is being communicated and created, especially by those in power, is still so broken. Barring swift and overarching change, soon it will be too late to fix things regardless of the tools we have at our disposal. I hope that this record helps serve as part of a much-needed societal wake-up call.”
