More about: Glüme

“Child actor, what’s the matter?/They told you to smile.”

And so opens Main Character, the second album from Los Angeles-raised Glüme. Glüme has a very clear aesthetic, taking influence from Marilyn Monroe and the Old Hollywood era, but there are shades of Bowie and Poppy in there too – imagine if Lana worked with A.G. Cook and you’re halfway there.

Often, it feels less like an album from the age of streaming, and more like an experience - almost like a movie. That’s something that was probably the intention from the get-go, but it’s certainly effective. One of the main themes is growing up as a child star and the ‘stage mom’ stereotype. “Why can’t I tell dad?” we’re asked on haunting album closer ‘Child Actor (Reprise)’, which features Amelie Zazik, a child actor herself who played a young Marilyn Monroe on American Horror Story. 

But it’s not the only theme - we’re taking a look at adulthood here too. Sean Ono Lennon is a fairly consistent feature on the album, first popping up on the sexy, sultry ‘Brittany’, which has a rather futuristic dream pop sound. Glüme’s ‘fucks’ punctuate the chorus, adding an edge to this atmospheric track. The collaborations embellish the album, but don’t overshadow Glüme’s talent, and her persona.

Meanwhile, ‘Dangerous Blue’ is one of the most accessible songs on the album, though its lyrics are heavier, discussing changes and and ‘Flicker Flicker’ could be a Charli XCX song at first, veering into real hyperpop territory. 

‘Main Character’ features Rufus Wainwright, the two dueting, and while it’s beautiful as a standalone track, it feels somewhat out of place about one-third of the way in. But then without further ado things pick back up with ‘Wedding Cake Shop’, which features Of Montreal frontperson Kevin Barnes and an uplifting instrumental. “Being happy makes me sad,” sings Glüme, giving an undertone of melancholia.

"It feels less like an album from the age of streaming, and more like an experience - almost like a movie"

The intermission, coming about halfway through, adds to the theatrical feel. It’s reminiscent of Daniel Johnston or early Let’s Eat Grandma, the sort of naive outsider energy that’s slightly unnerving. 

‘Female Role Model’ shows that she’s truly the star of the show just as it feels as though things are flagging slightly. For the most part, it’s just Glüme’s vocals and a piano, and while it’s one of the album’s longer songs the last minute and a half is truly worth the wait. Glüme’s ethereal ‘hallelujah’s’ lift us onto another plane, and it’s seriously captivating. 

When Main Character is good, it’s very good. But at 14 tracks - granted, including an interlude - it sometimes feels as if it overstretches itself. Songs like ‘Garden of Asha’ and ‘Queen of LA’ begin to feel ever-so-slightly samey as the album goes on. For people who haven’t yet discovered the LA artist, it’s an exciting introduction. 

Get to know Glüme in issue 7 - available HERE

Grab your copy of the Gigwise print magazine here.

More about: Glüme