Glass Beach – Plastic Death Review

With the business of death swirling the news cycle, plastic appears to be higher on the list for animal ends than it is for humans. Still, this should not stop Glass Beach, whose latest hour-long indie record is a change of pace. Plastic Death is a wild and blind shot in the dark which has found itself exploring a darker heart, a wiser side to the post-hardcore and prog-rock elements found in its rich textures. Studio chatter as piano notes strike-through gives a homely feel to Plastic Death, a real surge in the right direction for a band whose presence and scope is cemented here, with the electronic jitters and almost happenstance appeal of its introduction. There is an opportune feel to this three-year project, a massive summary of what the band stands for.  

Opener coelacanth summarises their project and their hopes well – with overlapping genres crashing in from instrument to instrument. It is hard to place Plastic Death but it is what makes it such an appealing listen. Guitar work here brings on an electro-pop form, some vocal harmonies spring for optimism while the clarity given to the piano brings on chamber-like discoveries. All of this in a six-minute track is beyond exceptional, and Glass Beach maintains this for an hour. Consistencies of form do not mean quality is assured though, and though the instrumental repercussions of perfection clang away on Motions, they are lost relatively quickly to the wails of slip under the door. Its trembling Thom Yorke-level qualities of electronic manipulation are an exceptional asset here though still feels as though they glide off into the background at times.  

Beyond distorted thrills on whalefall and puppy is the consistencies which lend themselves to long-form playing. It has been some time since listeners were gift-wrapped and handed a package of quality on par with The Dark Side of the Moon or Abbey Road when it comes to a production style bleeding songs into one another, but here is a perfect example of how it can still impress. Swaying into new motions and genres each time, the links between these works is monumental and beyond impressive. puppy into the killer is a mesmerising experience which lightens the mood after the Courting-like explosion of electronic manipulation. Is it enough to be moved by instrumentals? In this instance, yes. Production wise everything lives or dies in those moments of static or interpretive, emotional displays. 

It does mean the lyrical proclamations fall into the ether. Unfortunate it may be, Plastic Death survives without focusing on J McClendon’s writing, and when given a platform to display what he has, it never amounts to more than those incredible playing sections. Slim the line may be between noise and instrumental, Plastic Death is comfortably filled with the latter. Look deeper in on Plastic Death, past the elusive and wild imagery their songs shine through, and onto the people behind the curtain – their exhaustive efforts are clear to picture, in some cramped studio where frustrations give way to a sound which has no artistic sacrifice on it. Pure and fought for each way, Glass Beach has an all-timer on its hands, a neat and modern instrumental standard for the genre.