Glowbug has been consistently crafting experimental electronic music for the past decade, and it has been quite a journey. But rather than shift directions entirely, it seems that each album manages to supplement a strong core sound with new elements that makes Glowbug hard to classify. There are elements of chillwave, hip-hop, alt-rock, post-hardcore, chiptune, and so much more at play. Put simply, Glowbug makes synth-pop that packs a punch and will probably appeal to fans of rock more than those of dance music.
At large, the Glowbug discography is patchy. I certainly consider myself a fan, but I’ve always been drawn to a couple songs here and there. Strangely enough, it was 2018’s Weezing, a tropical take on some Weezer classics, that really stood out to me. It was a style that doesn’t have a lot of direct competition, and the use of timpani and brass really gave it a refined edge.
It’s this sound that also serves as the primary base for Vampire Empire. Glowbug augments these elements with everything from Latin piano grooves, sultry falsetto, AWOLNATION-esque screams, and frenetic choruses and the end result is an album that seem more balanced than its predecessors. It’s not without highlight songs (“Love”, “Phantoms”, “Death Wish”, and “Time Bandits” are all exemplary) but the other tracks certainly aren’t far behind.
“Phantoms” feels like the best entry point for the album – while it wasn’t released as a single, it has all the right elements of one. A bassy synth intro bleeds into upbeat horns, cementing a warm feeling that embraces the whole album. The chorus is crazy in all the best ways, mixing one of the most rhythmically-compelling vocal parts of the album with some of the aforementioned screams. It’s also worth noting these screams are very brief and hidden under vocal processing, so you probably wouldn’t find people moshing here.
Lourdes Hernandez of Russian Red once again makes an appearance (“Lucky Me”, “Anatomy Art”) and is strong as always. She’s been featured on several previous Glowbug releases and has become a staple guest. “Anatomy Art” in particular is a groovy beast of a track and Hernandez definitely helps round it out.
Vampire Empire hardly feels like an appropriate title; there’s nothing bleak or foreboding here. Instead, start-to-finish, you’ll find 40 minutes of beachside bangers, shimmering with synths, brass, and Caribbean percussion. It’s the kind of music that perhaps feels out of place for this time of year, given the widespread cold we’re experiencing. But just maybe this is the cure to seasonal depression we’re been looking for.
Not a Sound 