Eerie, cerebral, female-fronted electronic pop was a major trend during the early 2010s, and Glasser's Cameron Mesirow was at the forefront of it with 2010's Ring. During the time between that album and its follow-up, plenty of acts mining similar territory arrived, but Interiors shows why she's still a singular talent. Ring's aptly named song cycle hinted at her interest in structures, something Mesirow explores further in these songs inspired by New York City's architecture, as well as the boundaries, or lack thereof, in relationships. Her examinations of the chambers within buildings and hearts are set to tones and melodies that are even more limpid and flexible than they were on Ring. Carefully engineered to flow and hover, they're the musical equivalent of weightless architecture. Throughout Interiors, Mesirow plays with these kinds of paradoxes: on "Shape," she retreats, humbled by a vast ocean, yet the electronics surrounding her ripple dynamically as if to meet the tide. Despite a beat fashioned from gasps, "Design"'s meditation on lust sounds pristine instead of sweaty, and "Landscape"'s longing for connection is set to one of the album's most spacious arrangements. Similarly, with the help of collaborator Van Rivers, Mesirow tweaks the elements of her sound: songs such as the sculpted instrumental "Window II" and the bowing, bending "Divide" are more delicate than Ring, while "Exposure" and "Forge" sparkle with a sharper, more overtly electronic edge. While Mesirow's lyrical and musical rigor are admirable, Interiors' most exciting moments allow some fun into the album's meticulously crafted world. "Keam Theme" lets its electronics tumble to the ground before rebuilding them into gloriously danceable choruses; "Dissect"'s beats sound even harder-hitting compared to its watercolor synths, and "New Year"'s joyous, brass-driven choruses prove there's more to Glasser's music than just well-observed introspection. The way Mesirow balances all of Interiors' concepts and sounds into songs this streamlined and appealing makes it even more akin to a marvel of modern architecture; it feels intuitive and effortless, even if it most likely wasn't to create it.
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AllMusic Review by Heather Phares