Glass Delirium

Jason Heller August 13, 2009 4:00AM

[
          {
            "name": "Related Stories / Support Us Combo",
            "component": "12017627",
            "insertPoint": "4",
            "requiredCountToDisplay": "6"
          },
          {
            "name": "Air - Billboard - Inline Content",
            "component": "12017623",
            "insertPoint": "2/3",
            "requiredCountToDisplay": "7"
          },
          
          {
            "name": "Air - MediumRectangle - Inline Content - Mobile Display Size 2",
            "component": "12017624",
            "insertPoint": "12",
            "requiredCountToDisplay": "12"
          },{
            "name": "Air - MediumRectangle - Inline Content - Mobile Display Size 2",
            "component": "12017624",
            "insertPoint": "4th",
            "startingPoint": "16",
            "requiredCountToDisplay": "12"
          }
          
            ,{
              "name": "RevContent - In Article",
              "component": "13027957",
              "insertPoint": "3/5",
              "requiredCountToDisplay": "5"
            }
          
        ]

Four songs into Glass Delirium's debut, Thanks to a Monster's Many Heads (which will be released Friday, August 14, at the Bluebird), the band seems like a darkly melodic, progressive metal group in the vein of Lacuna Coil or Evanescence. Then things get weird. Track five, "Glass Delirium," is a jazzy mash-up of heavy riffs and swinging piano that deserves credit for nerve and virtuosity. By the time the orchestral "Ellipsis" appears, though, Glass Delirium hits the glass ceiling. The tunes are there, but they need more seasoning: Singers Vince Nunez and Cassi Mergo have to better synthesize their powerful voices, and keyboardist David Newell could trade in some attack for atmosphere. But as a debut by a young and talented-to-bursting band, Many Heads holds much promise.

Glass Delirium

This Week's Issue