Teen Daze
Glacier
Release Date: Oct 1, 2013
Genre(s): Pop/Rock, Alternative/Indie Rock, Indie Electronic
Record label: Lefse Records
Music Critic Score
How the Music Critic Score works
Album Review: Glacier by Teen Daze
Very Good, Based on 4 Critics
Based on rating 78%%
Glacier is a journey. It begins with ever-present droning that looms heavy like gray skies. Intermittently broken by glassy synth that cuts through the gloom like rays of sunshine, the overcast mood turns with more persistent beats and soft vocals. Undulating chimes grow and grow until they suddenly give way to huge, enveloping tones that feel as if you’re basking in the first spring sunrise after a long, cold winter.
Based on rating 7/10
The artistic growth of Jamison, the producer behind Teen Daze, has been faster than the title of his third album implies. In fact, he has been quite prolific, releasing three albums that are significantly different from each other over the course of two years. While a more conventional artist might have focused on the chillwavey pop of his first album All of Us, Together or The Inner Mansions' confessional songwriting, Jamison dives deeper into the restful atmospheres that surrounded those albums' beats and words, and the results are some of his most accomplished music yet.
Based on rating C+
On Glacier, the third full-length album from Vancouver’s Teen Daze, sole member Jamison delves into some of his most esoteric soundscapes to date, finding a delicate balance between ambient electronic and indie pop. As the title would imply, the album has a decidedly wintry, crisp sound. Written as autumn turned to winter in his Canada hometown, Jamison loses the playful drums and harmonic synth moments in exchange for more ambient synth exploration and minimal drumming.
Opinion: Very Good
AVERT YOUR EYES! Or you may encounter a dirty word: Chillwave. OH GOD! THE HORROR! Or at least, you’d think that it deserves that kind of reaction, based on the enormous aversion to the term amongst the music press at the moment. Everyone seemed relatively happy with the ‘C(h)’ word – or as happy as you can ever be about using spurious labels to categorise the ever fluctuating and divergent evolution of music - until earlier this year.