Vancouver singer-songwriter Adrian Glynn releases his second solo record. After a busy year touring Europe with Canadian folk phenoms, The Fugitives, and portraying villains on the silver screen (a stitch-mouthed menace in the series Arrow and a soldier in Leonardo DiCaprio’s nightmares in The Revenant), Glynn returns with his most innovative musical outing yet.
Produced by Canadian indie heroes, The Zolas, in a spanking new studio in East Van, Adrian Glynn’s sophomore release, morelightthannolight, is a brave new foray into what can best be described as “electrofolk”. Playing banjos through spring pedals and layering lush synth landscapes over dense vocal harmonies, Glynn, along with Zach and Tom (The Zolas), looked to find a sonic interplay between the neon of cityscapes and the creaks in our walls.
“We wanted to keep the intimacy and signature quality of Adrian's voice, but juxtapose his often solemn melodies with all the cool synths and drum machines we had at Monarch (Studios),” says Zach. “It made for a tasty balance point between hype and melancholy.”
A departure from Glynn’s dusty and desolate first solo release (2011’s award-nominated Bruise), morelightthannolight is a melding of old and new, a meditation on the twilight of youth and the ever-shifting palette of our emotional lives. These themes are stitched together through songs about Oscar Wilde’s arrest at the Cadogan Hotel, to a hapless guardian angel reaching frayed ends with his ward, to the guiding of a canoe through the city in the dead of night. This is the hype and the melancholy of morelightthannolight.