Glass Towers - 'Nobody Walks In LA'
Regardless of when and where one grew up, there’s an argument to be had that everyone is trying their hardest to recapture a misspent youth. Whether subconsciously or otherwise, music is the perfect evidence for this argument. Instantly nostalgic, it harbours an ability to immediately transport listeners to a specific time and place regardless of genre; a universal effect that can be as personal or as inclusive as one needs.
Having grown up in the ‘00s, one genre that seems to harbour more nostalgia than most is also somewhat maligned. Often lovingly referred to as landfill indie, that period from roughly ’05 to ’07 was as joyous as was predictable. Optimism, clad in Topman, devoid of the arrogance of britpop and downing 2-for-1 pints of Snakebite and Black it was a heady time for much of my generation, but while many of the bands from that period were short-lived, many stood the test of time.
That’s where Australia’s indie-poppers Glass Towers come in. Possessing and energy and urgency that’s more than reminiscent of the likes of Blog Party or Two Door Cinema Club, their latest single ‘Nobody Walks In LA’ is three and a half minutes of soaring and shimmering indie that feels both welcomingly refreshing, and instantly familiar; a paradox that makes more sense once you realise it was mixed by Matt Bishop (The Killers, Catfish And The Bottlemen).
A propulsive synth drives the track forward, bolstered by a chunky treble-heavy bass and skittering percussion, before each chorus blossoms into towering walls of layered synths. Lyrically however, ‘…LA’ takes on a darker and more sombre tone than its instrumentation would suggest.
Dealing with feelings of loneliness and mental burnout that stem from an intense touring schedule, it’s a testament to Glass Towers’ abilities as a band that such of feelings of isolation can be paired with such an optimistic aesthetic so effortlessly.
It’s not often that something so familiar, and that wears its influences so plainly, can feel as impressive or as refreshing as ‘Nobody Walks In LA’ does, but in a year in which we’re unsure what’s going to happen one week to the next, perhaps a little upbeat familiarity is what we all need, and in that, Glass Towers have succeeded perfectly.
Words of Dave Beech