released October 19, 2011

.

Glorium is Jorge J. Lara, Juan Miguel Ramos, Ernest Salaz, Lino Max and Paul Streckfus.

Music by Glorium. Words by Paul Streckfus and Lino Max.

Nikki Holiday plays keyboard on Black Market Hearts.

The Double, Black Market Hearts, Vaccine, Mercury Rises, Psyklops, Brownie Hawkeye and Walkie-Talkie were recorded, mixed and produced by John Croslin spring - fall 1996.

The Door Is Ajar was recorded by Adam Wiltzie 5/13/95 at Ben Blank.

Mother Machine was recorded live at Emo's by Mark Phillips 11/12/93.

My Mt., Future News, Ghost-Writer and Rip-Off were recorded by Kurtis D. Machler summer and fall 1995 at Pyramid Studio.

Come To Your City was recorded and produced by Grant Barger 2/23/97.

Mastered by Greg Goodman.

All songs ©1993, 1995, 1996, 1997 Glorium.

goldenhourrecords.com/glorium

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
P R E S S

THE AUSTIN CHRONICLE
Phases & Stages
Texas platters
BY GREG BEETS

Glorium
Fantasmas (Golden Hour)

If Glorium hadn't gone on hiatus in 1997, it's not so hard to
imagine a scenario in which the Austin/San Antonio quintet
moves to Brooklyn, signs with Matador, and becomes a
significant force in American indie rock. That's how
prescient Fantasmas is. Glorium would've fit right in with
the Liars, Interpol, and TV on the Radio, but their
free-flowing aesthetic skew goes deeper than that, calling on
early touchstones like Can and the Red Krayola. Fantasmas
consists of Glorium's unreleased final recordings along with
assorted nonalbum tracks. Recorded 1992-1997, this
surprisingly cohesive album bottles Glorium's tension-filled
art-punk prowess as it evolved. The 1996 tracks produced by
John Croslin may be the pinnacle of their studio work. "The
Double" nails the role of "Teen-Age Riot," kicking off with a
slowly enveloping tornadic sweep of guitars cut by the steady
burst of snares. "Black Market Hearts" revolves around a
hypnotic synth groove and the desperate, whirling dervish
vocals of Paul Streckfus, while "Psyklops" heaves and groans
like the score of some obtuse arthouse monster movie.
"Brownie Hawkeye" mines a broken-down Motown drive crossed
with jagged Birthday Party theatrics to produce something
almost resembling a lead single. Glorium's remarkable ability
to harness dramatic tension without falling victim to
pretension is evident even on early nonalbum tracks like the
1993 live recording of "Mother Machine" and '92's explosive
"Divebomb." Though speculating on what might've been is
ultimately best left to the mind's eye, this album is
undeniably special.