Glim In The Mire is a five-track stumble of aspects utilized together in an odd state of mind with some random audio cable televisions. An under-the-radar digital-only transmission from Frank Baugh’s (aka Sparkling Wide Pressure) other face, it’s the noise of somebody fucking around within the limitations of a self-imposed minimal combination.
So with beats, guitar wreckage, snatches of abstract vocals, and electronic bass, Night Sky Body produces pieces of post rock/ hiphop damage packed into tune structures. Leaning into an extremely loose hybrid of distorted samples and live guitar/knob twiddling, the record has a sense of pacing stress and anxiety that mines downtempo fear. Tracks like “Big Flat Stones” (2 Lone Swordsmen vibes) and “Revealing Surface Area” (More of a Slint lean) have rust-sharp guitars on their last upper hands versus digital verdigris.
Baugh’s usage of singing samples, primarily muddled and contextless, offers the tracks a darker, meaner shine. With “Feel Pass,” the damaged speech with periodic pieces of appreciable syllable pinballs inside the kaleidoscope seems like sprayed damaged bottle glass. Periodic frenzied strums on guitar are anchored/sunk by a slo-mo bass boom and a rattle of sample drum hits; the rhythms all have a nasty post-clinic check out swagger.
” BK Tips” strolls the very same line, a dial-created bassline and a dust-covered beat, more recorded in the wild instead of pieced together, with the voice method down in the mix. Here the guitar is penalized till it groans, keeps in mind boiling over into a digital spillage till it stalls.
Ending with the title track, a mini-universe of deserted brief wave signals being up to their death, the release ends with its loneliest minutes despite the fact that this is among the couple of locations we can truly hear Baugh; he even states the title clear as day. Tones scramble and drop like sluggish fireworks then things go dead.
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