The dynamic trio Gliss, comprised of Martin Klingman, David Reiss, and Victoria Cecilia, have not sacrificed their experimental vibe since popping onto the scene with their first release, Kick in Your Heart EP. The group’s well-crafted signature sound finds fruition on their latest full-length album Love the Virgins, and proves that the marriage of originality and persistence defines a quality record. On the whole, Love the Virgins has a fuller timbre and tighter sound, produced by the balanced blend of Klingman’s distinctive vocals, combining angst and pain on the verge of tears, hammering drums, and wailing guitar riffs with the underlying moan of instrumental feedback.
“I Want You” opens the album with robotic rhythms and electronic keyboard reverberations that culminate in an ominous guitar-powered melody. Although Gliss showcase their love of distortion throughout the album, the fuzz-guitar effect is most striking on “Huh What?,” that features a swinging beat, whining guitars, and anxiety-laden vocals that push the song into a frenzy, and on “Off to Bed,” a tune with an upbeat tempo that is juxtaposed with lamenting lyrics, whispering “lies, lies, lies,” and featuring harsh guitar distortion. The throbbing off-beats of the bass drum and edgy guitar lick of “Blue Sky,” backed by a booming bass swell over a frenetic snare drum roll, immediately breed an addictive listening experience with a danceable and captivating beat. Love the Virgins calms on the mellow but equally emotionally tense track “Innocent Eyes,” whose seductively echoing vocals, resounding keyboards, and guitar feedback hypnotize listeners into an experimental haze. Although the title track “Love the Virgins” maintains Gliss’s melancholic mood with heavy chords and bass drones, the song surprisingly enters a major mode despite its dark message that grieves the loss of innocence. “Moped” is a mobile track with driving instrumentation and throbbing pace, while “Falling to Pieces” decelerates into a Beatle-esque cadence. On “Make Believe” Love of Virgins returns to a brisk foot-stomping sound, layered with techno tinges and ringing riffs. Recurring fuzz guitar introduces “Kissing the Blvd” with a clamor that descends and melds with electronic resonances into a lighter pop-rock lilt. Another album highlight, “Fade Away” is dominated by sinister bass arpeggios that interlock with swaying guitar lines, electronic organ drones, and bracing beats, preserving Gliss’s unstoppable energy. Rumbling guitar squeals open “All You People,” an appropriate closer for Love the Virgin, given its solemn tempo, almost inaudible vocals, and churchy keys that cycle until subsiding into silence. But ominous tones soon reemerge: be patient and keep the record spinning for an eerie track treat.
Gliss have rendered good from evil by creating danceable darkness on Love the Virgins. The twelve tracks are lyrically downers but after just one listen, their uplifting effects are undeniably enticing. Overall, the album is, using a Klingman word, “lovely,” and indicative of the alluring and provocative music that will continue to grow from Gliss. For more information on Gliss, please visit www.gliss.tv and www.myspace.com/gliss.
