What should wake you up at the beginning of ‘Morning light’-the wild effects, swirling guitars and rallying drums-actually serves as a gateway into Gliss’ ethereal sound and instead helps conjure up a unique feel-one of detachment and emotional awareness.
With Victoria’s voice sounding like smoke drifting in, out and around the bass, it’s that hazy Stone rose’s veil covering all proceedings and a wall of noise that rather than threatening to halt the songs progress, elevates the material.
You’re well within the song when the bass line drops with the line ‘In your heart’ and just when you feel you couldn’t possibly get anymore into the melody you find yourself hopelessly entangled.
‘Morning light’ is taken from the album ‘Devotion implosion’ and promises to deliver more of the same, which is just as well because as the song ends you fell as though you’ve been disturbed from a daydream, one which you’d like to lie back and experience again.
At its centre ‘Morning light’ sways with the music like a forlorn dancer in the centre of the crowd alone- achingly beautiful and completely tragic.
There appears to be almost no structure to ‘Morning light’, but this is not true, it ducks convention and hides behind the corner of conformity by simply being beautiful and moving.
Perhaps a window into why they are called Gliss is best suited in how to describe them-a gentle bliss.