Digital pulses and poetic echoes
Like a Ribbon is a project where experimental electronic production meets the precision of spoken word; in her ten-track journey, John Glacier seems to fuse minimalism with an expansive auditory landscape to create a forward-thinking and introspective album. While the album spans diverse sounds, a few universal textures anchor the overall experience.
A recurring motif exists throughout the project of interplay between organic instrumentation and digital processing. The opening track, “Satellites,” establishes this dialogue with its subtle guitar progression and ethereal quality of spoken lyrics. An echoed bridge introduces a looping drum element that hints at distant communication. This delicate balance between clarity and reverb recurs across the album, framing Glacier’s exploration of sound. This is further explored on tracks such as “Don’t Cover Me” and “Money Shows.” The former integrates elements of UK drill music where a punching bass line aligns with precise, measured vocals, generating an almost rhythmic urgency. In contrast, “Money Shows” offers a more reflective, almost slam poetry delivery over a plucking guitar melody, echoed vocals, and a minimal percussion backdrop that gradually gives way to a pulsating bass. Both tracks exemplify Glacier’s commitment to rhythm and timbre to mirror these lyrical themes; each note and cadence feels deliberate and purposeful.
Lyrical depth is a hallmark of the project. “Emotions” deploys creative wordplay and allusions—evoking images of snakes in the garden of Eden—to underscore a meditation of desire. The dynamic beat, built from a fusion of electronics, snare hits, and bass, mirrors the fluctuating stream of consciousness from personal revelations. Similarly, “Nevasure” plunges into the techno realm with aggressive bass hits and a pillow of synth sounds that shift from sparkling bursts to long, unhurried waves. The way the vocal delivery mimics these sonic wavers creates a dialogue between the lyrics and texture. While many tracks maintain an experimental approach, “Steady as I Am” and “Found” introduce contrasting sonic identities. “Steady as I Am” features an almost distorted loop of guitar notes and robotic digital clicks that conjure the sensation of vintage computing. Meanwhile, “Found” diverges by interlacing traditional piano with upbeat percussion reminiscent of a racing video game, allowing for a melodic nuance in Glacier’s vocal delivery.
Perhaps the album’s centerpiece is “Ocean Steppin’,” which juxtaposes airy piano lines against a pulsing techno beat. The collaboration with Sampha, whose deep lamenting vocals occasionally loops as counterpoints, elevates the track to a conversation between the organic and the synthetic. Closing the album with “Heavens Sent,” the album winds down with somber guitar strings and a lingering bass that seems to float in the air. Glacier begins by emphasizing every syllable in her lyrical delivery, gradually escalating. This final moment appears to encapsulate the entire album’s journey—an exploration of sound that is as precise as it is expansive.
Like a Ribbon stands as a testament to John Glacier’s innovative artistry. It is a layered album that challenges and captivates with digital precision and raw poetic expression.
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