Our new music feature Origins gives artists a chance to reveal the inspirations behind their latest single.
It wasn’t long after meeting in a music production class at NYU’s Clive Davis Institute that Sam R. and Charles Pinel began working on music together. However, their first attempt at a band — a trio — failed in the way that most naive but passionate artists tend to fail. Undeterred, the pair reevaluated and entered the music business via a different avenue, collaborating with the likes of Maggie Rogers and Charles Fauna. Once they’d gained better clarity on how the industry operated, they released their first single as Glassio, 2016’s dreamy “Try Much Harder”.
A number of singles later and Glassio have fully refined their indie pop blend of house and R&B sounds, as demonstrated on their new song, “Back for More”. At times as much a nod to Graceland as it is to AIR, “Back for More” manages to remain uplifting even as it reveals itself as a pining, forlorn love song. Beat machines kick up the time as piano notes lay down heavily under lyrics that lament, “But if it takes some time/ To rid me of my whiskey and wine/ I hope that I don’t find my sight/ While I’m blinded by you.”
Take a listen:
To help shed light on how they got to their uniquely calming electronic sound, Glassio have broken down the Origins of “Back for More”. See what they have to say about Christine and the Queens, Sticky, and Talking Heads below.
Sam brought this instrument back from the Middle East and we immediately began working on placing it in or sets, and using it to play arpeggios under beats. “Back for More” started with a beat and the santoor you hear in the bridge before the melodies began coming together. It was the base for the whole song. Having it in there put this image in our heads of wooden clock towers crying and we really liked that. This song is all about dependency and time slipping away. We needed that effect of time fleeing in there.
Talking Heads — “This Must Be The Place”:
This song has been in our lives since we were early teenagers so it was a completely subconscious move to have our intro synth sound pay homage to the intro synth in this song. That flute/synth part in the intro has always made me think of flowers yawning. That expression was really important for our track. We wanted this song to be a mix of yin and yang. The beginning – in our heads – was a sunrise, and once the vocals kicked in, you’re out of bed and going 100mph.
Sticky — “Triplets II & III”:
We’ve been really into to lots of drum and bass, 2-step and UK garage the past couple of years — particularly the past year. This British producer was making great stuff in the early 2000s garage world in the UK. Love how aggressive the beats are but yet how playful the instrumentation on top is. Also love how dry and to the bone the textures are. Makes me think of a kindergarten music teacher after school trying to rebuild drum and bass sounds using only the musical equipment on campus. We were very keen on the idea of making something that felt like a d&b lullaby to an extent.
Christine and the Queens — “Tilted”:
We probably referenced her almost half of the time when working on the song. We imagined how she would choreograph the track, how she would sound on it. We love the colors in “Tilted” and think she’s absolutely incredible. She has synth sounds in her music that sound like birds whistling sweet nothings and that was definitely something we wanted to emanate. Her music videos also work with color and light so well, we had those playing all the time while working on the track.
Our “Back for More” visualizer:
Towards the last 25% of working on the song, we put this video together as something to play on a projector in our studio as a means for us to get our heads out of the music and let our eyes make decisions for our ears. That’s been a huge thing for us. Visuals often drive everything in the music we make and we constantly are staring at a projector while working. It’s almost as if we think of the music video beforehand, and make the music for the video.