Jody Glenham

“Between You and Me”/“Dreamer” (Independent)

Sometime last year, local-scene vet Jody Glenham told the Georgia Straight she was going to be focusing on a solo career, noting that she’d fallen in love with vintage gear and the idea that tastefully applied reverb can be a powerful thing. Based on the 7-inch single “Between You and Me”/“Dreamer”, her infatuation hasn’t dimmed much since then.

What you get here are two songs acting as a teaser for Dreamer, an EP recorded in Los Angeles with Raymond Richards (the Parson Red Heads) that’s due out next year. A smouldering exercise in coal-coloured country-noir, “Between You and Me” is the next best thing to meeting Julee Cruise for drinks at the Black Lodge in Twin Peaks, the Sgt. Pepper–swirled organs adding a nicely surreal touch to the proceedings. The slow-building “Dreamer”, meanwhile, hits its stride halfway through, when Glenham’s dream-hazed vocals end up multitracked, turning lines like “Climb every mountain/Howl at the moon” into a ghostly Midnight-Mass mantra.

So why do you need to hop on this vinyl release now, instead of waiting for Dreamer to hit Zulu Records next year? That’s easy: last time we checked, vintage Wurlitzer jukeboxes, which sound best in empty bars rolling out songs like Glenham’s, only play 7-inch singles. - The Georgia Straight

Whether intentional or by pure happenstance, Vancouver's Jody Glenham is set to follow up 2014's Dreamer EP with a 7-inch release that finds her supported by backup band the Dreamers. Physical copies of their two-song "RSVP"/"Ill Wind" for Kingfisher Bluez land next week, but you can hear both tracks online now.

As you'll discover in the player down below, "RSVP" is a morphine-drip of Mazzy Star-styled mood rock, replete with hazy six-string strums and melancholy vocal harmonies ("you told me you didn't miss me"). "Ill Wind" picks up the pace with its initial rumbling tom-tom rhythms, which later locks into a dreamy groove.

The 7-inch comes in a limited pressing of 300 on "peacock coloured vinyl." Glenham will have them on-hand for a pair of local shows next week.

Tour dates:

06/30 Vancouver, BC - the Cobalt *
07/02 Vancouver, BC - China Cloud

*with Christopher Owens - Exclaim!

VANCOUVER — Jody Glenham has never been an artist who has settled into simple musical genres such as folk or country, but has etched her own niche into the side of the mountainous indie rock world. The Vancouver based singer songwriter is back with her most focused post punk release yet, The Dreamers 7-inch, released on Kingfisher Bluez.

This six song record leads you through a mixture of proto punk gaze vibes, combined with summery pop sadness. The Dreamers includes a wide range of musical backgrounds and styles; lyrics linger forever while rhythms drag, all shrouded in downbeat melodies and thick atmospheres. Whether Jody is pulling from her standards such as the Replacements and Jenny Lewis, or the 1960’s Velvet Underground vibe of Dean Wareham, she remains grounded in her ability to write good songs.

After recording the EP down in Los Angeles with Raymond Richards (Local Natives, Dean Wareham), Jody put together a band to play the full length record with her. “I needed someone I could trust,” she says, “to take over playing the parts live and to make them their own.” Collaborating with multiple musicians on this record including Nathan Shubert (No Sinner) and Rebecca Gray (Yukon Blonde), she was able to distance herself from her old projects. As Jody says, “I’d only ever worked with producers whom between myself and them, we played the majority of the music.”

“Between You and Me” leads the 7-inch off with the feeling you are trapped inside a David Lynch slow motion scene. Mellotrons and vibraphones find their way next to commanding stand-up pianos that hover around Jody’s platonic ideas for pop music. Jody shows her ability to select songs with unique instrumentation. “Forever the Affair” is accompanied by nomadic, free-spirited violins. “Gypsy Babe” has American blues lead lines against a church organ, as she speaks clearly, “Fell in love with a gypsy babe, I ain’t ever gonna be the same.”

Nevertheless, the songs always resort back to Jody singing with her fender jaguar. Leaning towards country classics near the end of the record, she sings “trouble, oh life brings so much trouble,” in the haunting yet beautiful, “He Has Your Name,” which lap steel guitar runs along old-time chord changes – something Willie Nelson could sit back on his beach in Hawaii and get used to.

“With Rich Dimitriou,” she explains, “this idea around the songs and our writing direction was that he was a gentleman named Frances, and I was a girl named May, and we wrote from a standpoint of long acquainted friendship.” After distilling the song through this writing process, a small EP consisted of some ballads and some rockers that her live band of proven musicians will play throughout the summer.

“I like two kinds of music: bratty rock and roll, and lush gentle rock with harmonies and sweeping swirly, psychedelic-tinged soundscapes.”

Jody Glenham and The Dreamers is available now. - Beatroute

On The Road Again - Vue Weekly Article by Eden Munro


Vue Weekly - Edmonton Alberta

Week of October 30, 2008 Issue #680



JODY GLENHAM : ON THE ROAD AGAIN

Jody Glenham just can't wait to get on the road again.

EDEN MUNRO / eden@vueweekly.com



'They're all fairly new' Jody Glenham says over the phone from Vancouver, recalling the origins of the songs on her upcoming second album, Focus Pull. 'I think 'Coffee Soaked' is probably the oldest one and that's maybe from three years ago - I started that one in Edmonton - but the rest of them I've kind of written between Edmonton and Vancouver.'



These days - and for the last couple years - Glenham has called Vancouver home, but before that she did her time in Edmonton after leaving her hometown of Winnipeg. According to Glenham, the move to the west coast was a good one, with the Vancouver music scene accepting the songwriter into its midst. She’s also had the good fortune of being in the right place at the right time at least once, resulting in producer Jesse Gander of the Hive handling the controls for Focus Pull.



'I bumped into Jesse Gander at a party and we hit it off because we owned a couple of the same keyboards, ' Glenham remembers with a laugh, 'I didn't even know who he was, but when he mentioned the Hive I was familiar with a couple of the artists like Ladyhawk and Black Mountain that had recorded there, and then from there all of a sudden we were working on an album.'



The result of the fortuitous meeting is an album that differs somewhat from Brave New World, Glenham's Chris Wynters and James Murdoch-produced debut, in that Focus Pull is a truer representation of what Glenham sounds like when she performs live. She explains that the piano parts on Focus Pull are the same ones that she plays live, whereas on the previous disc Wynters and Murdoch took demos of her songs, broke them down and then built up a variety of parts that worked together as a whole.

This time around, Glenham and Gander started with the piano and then built the music up from there, adding drums first. The effect is that the various instruments weave around the piano, interacting as though a seasoned road band put down the music. Glenham is quick to credit the individual players for the sound.



'I think that has to do alot with the players I had, 'she states. 'The drummer [Al Boyle], he's basically a math-rock drummer and he helped a lot with the shaping of the songs. It's very easy for a singer-songwriter album to have every song sound the same and I think Al actually took the time to figure out complementary things and how to add texture to it instead of straight cross beats.'.



As much as she's enjoyed Vancouver, though, it wouldn't be entirely surprising to see Glenham pick up and move on sometime in the future. The wandering spirit admits that the thought had crossed her mind in recent times, as she's wondered what places like New York or Paris might hold for her.



While she has no concrete plans to pack up immediately, though, her life as a touring musician keeps her on the move enough, including a trip down to Austin, Texas for South by Southwest this past spring. That experience very much fueled her desire to see other places.



'You get exposed to different types of music because every city and every scene will have a stronger portion to it' she explains. 'I'd love to go back to Austin and the surrounding areas and learn about and be surrounded by the more soulful, country-type of music. It's a looser type of music than what I write and I think I might take something out of that. It's all about learning and listening. I listen alot. I listen more than I play.' V


- Vue Weekly Article by Eden Munro

On The Road Again - Vue Weekly Article by Eden Munro


Vue Weekly - Edmonton Alberta

Week of October 30, 2008 Issue #680



JODY GLENHAM : ON THE ROAD AGAIN

Jody Glenham just can't wait to get on the road again.

EDEN MUNRO / eden@vueweekly.com



'They're all fairly new' Jody Glenham says over the phone from Vancouver, recalling the origins of the songs on her upcoming second album, Focus Pull. 'I think 'Coffee Soaked' is probably the oldest one and that's maybe from three years ago - I started that one in Edmonton - but the rest of them I've kind of written between Edmonton and Vancouver.'



These days - and for the last couple years - Glenham has called Vancouver home, but before that she did her time in Edmonton after leaving her hometown of Winnipeg. According to Glenham, the move to the west coast was a good one, with the Vancouver music scene accepting the songwriter into its midst. She’s also had the good fortune of being in the right place at the right time at least once, resulting in producer Jesse Gander of the Hive handling the controls for Focus Pull.



'I bumped into Jesse Gander at a party and we hit it off because we owned a couple of the same keyboards, ' Glenham remembers with a laugh, 'I didn't even know who he was, but when he mentioned the Hive I was familiar with a couple of the artists like Ladyhawk and Black Mountain that had recorded there, and then from there all of a sudden we were working on an album.'



The result of the fortuitous meeting is an album that differs somewhat from Brave New World, Glenham's Chris Wynters and James Murdoch-produced debut, in that Focus Pull is a truer representation of what Glenham sounds like when she performs live. She explains that the piano parts on Focus Pull are the same ones that she plays live, whereas on the previous disc Wynters and Murdoch took demos of her songs, broke them down and then built up a variety of parts that worked together as a whole.

This time around, Glenham and Gander started with the piano and then built the music up from there, adding drums first. The effect is that the various instruments weave around the piano, interacting as though a seasoned road band put down the music. Glenham is quick to credit the individual players for the sound.



'I think that has to do alot with the players I had, 'she states. 'The drummer [Al Boyle], he's basically a math-rock drummer and he helped a lot with the shaping of the songs. It's very easy for a singer-songwriter album to have every song sound the same and I think Al actually took the time to figure out complementary things and how to add texture to it instead of straight cross beats.'.



As much as she's enjoyed Vancouver, though, it wouldn't be entirely surprising to see Glenham pick up and move on sometime in the future. The wandering spirit admits that the thought had crossed her mind in recent times, as she's wondered what places like New York or Paris might hold for her.



While she has no concrete plans to pack up immediately, though, her life as a touring musician keeps her on the move enough, including a trip down to Austin, Texas for South by Southwest this past spring. That experience very much fueled her desire to see other places.



'You get exposed to different types of music because every city and every scene will have a stronger portion to it' she explains. 'I'd love to go back to Austin and the surrounding areas and learn about and be surrounded by the more soulful, country-type of music. It's a looser type of music than what I write and I think I might take something out of that. It's all about learning and listening. I listen alot. I listen more than I play.' V


- Vue Weekly Article by Eden Munro

Exclaim! - March 2009
By Amanda Ash

Sex, drugs and grand pianos, that's the most accurate way to describe Jody Glenham's music. The Vancouver-based singer-songwriter has a knack for producing a highly addictive brand of coffee shop pop, the kind that inspires you to dance on tables rather than hide behind a book. Focus Pull is Glenham's sophomore release and throughout the entire record the spunky chanteuse leads a quiet riot with jazzy keys and growling vocals. "Coffee Soaked" kicks off the disc, beckoning the listener to sit at her table and stay a while. Then "One Shot" takes things up a notch and before you know it, "Buttons" will have you doing espresso shooters and singing at the top of your lungs. Focus Pull's catchy melodies and irresistible energy just go to show Glenham's flair for the wilder side of soft music. That being said, make sure your coffee has a lid on it before you start listening. (Independent)



The Georgia Straight - May 2009
By Jenny Charlesworth

While the prospect of Vancouver transplant Jody Glenham huddled at the kitchen table swapping musical woes with the likes of Neko Case and Fiona Apple seems entirely unlikely, her sophomore disc suggests otherwise. With a compelling mix of coffeehouse pop, jazz piano, and reflective lyricism, Focus Pull is clearly indebted to the work of Glenham’s much more famous contemporaries. But rather than play it safe with a simple rehashing of singer-songwriter fodder, the local musician keeps things interesting by letting her own spunky musical personality shine through, especially on playful numbers like “Buttons” and “Pushin’ Gold”. Perhaps due to the impressive list of Vancouverites who accompany her this time around (Mikey Manville, the Clips’ Edo Van Breemen, and the Hive’s Jesse Gander, to name a few), Glenham’s confidence is leaps and bounds above that of the performer we met on 2006’s Brave New World.



Discorder – Vancouver - April 2009
By Melissa Foye

Focus Pull is Jody Glenham’s follow up album to her debut Brave New World released in 2006. This Winnipeg native constructs convincing pop tunes with piano-driven tracks and quirky beats that are both welcoming and contagiously foot tapping. The CD begins with “Coffee Soaked,” a beautiful track which opens the door to Glenham’s world, inviting the listener in like an old friend. Imagine Sarah Harmer meeting a happy version of Fiona Apple with hints of KT Tunstall. For listeners seeking something a bit more edgy and raw, Focus Pull may leave you feeling somewhat ambivalent and uninspired, with tracks “Buttons” and “Pushin’ Gold” perhaps coming across as a bit too bubble gum or Broadway showtune-ish. At times the album comes across as a bit too piano-heavy, but fortunately, the clever pacing of the songs, along with the varied arrangements redeem the piano’s dominance. Stand out tracks include “Whisky (So Cold)” and “In Other Words.” While “In Other Words” remains a bit more faithful to the album’s sensitive, singer/songwriter vibe, “Whisky (So Cold)” goes against the grain, providing a dirty, almost classic rock sound; it’s a great tune which showcases Glenham’s vocal range and versatility as a songwriter. With this album, Glenham proves to be a gifted artist, contributing her sincere and refreshing talent to the singer/songwriter genre.




Vue Weekly - Edmonton - Week of March 12th
By Eden Munro

From the melancholy piano chords and wistful vocal that open the album on “Coffee Soaked”—”Working in a coffee shop / Listening to strangers talk / How the world seems so trivial,” she sings—to the hopeful-yet-hushed tones of closing number “Lime”—”Let’s make the best of it ‘cause this mess could get sticky—Focus Pull is alive with emotion, Jody Glenham’s voice tender and nuanced as she deliver her words. Her piano—the instrument at the heart of the record—is inextricably linked to her voice, the two instruments so entwined as to act as one spine throughout the record. Not to be dismissed is the band that accompanies Glenham, though—on ”Buttons,” with its underlayer of acoustic guitar, some strings and a drum beat that oscillates between swinging and pounding, or the wah-wah guitar, soaring organ and rolling thunder of the drums on “Whisky (So Cold)”—not so much giving the record an added depth as much as shading in the holes and darkening the edges.



Winnipeg Free Press - Saturday, March 14th
By Jeff Monk

If you were to go strictly by the cover art on her latest album you might think that former Manitoban Jody Glenham had made a happy-go-lucky children's album. Thankfully for us adults, that is not the case. Glenham now calls Vancouver home and her sophomore album Focus Pull benefits from her skill at writing interesting songs without sounding like she's navel-gazing. She obviously has compositional skill and uses it without making pretentious, grandiose statements -- something that too many artists her age think they need to do to get over. The easy-goi - Exclaim! - The Georgia Straight - Discorder - Vue Weekly - Winnipeg Free Press - AWmusic.ca (Toronto

Poetic principles
Jody Glenham discovers her lyrical Brave New World

JODY GLENHAM CD RELEASE
W/ Kris Glabush, Sun, Apr 9, 8:30 pm, Savoy Lounge (10401-82 Ave.), $7

Harboring a quirky habit isnt unusual for most musicians. Rehearsing in the shower or obsessing over a missed note can be some of the more conventional examples of capriciousness, but for Edmonton-based singer/songwriter Jody Glenham, her oddity is of the linguistic kind.

According to the redheaded folk artist, neurotic lyrical perfectionism is her badge of eccentricity. Esoteric words and moving instrumentals should, theoretically, go hand-in-hand, but from Glenhams perspective, lyrics are what truly pack a musical punch.

"I find that when I listen to other music, [lyrics] are what I tend to focus on," Glenham explains. "For me, its the songwriting that comes first, and that breaks down to the lyrics. I want to know why people are saying what theyre saying, and I guess thats just where I connect with other musicians and songs."

Although Glenham doesnt necessarily consider herself a poet per se, she does regard herself as a true Canadian musician. Her soundwhich mixes organic vocals with rock, pop, and the occasional electronic undertones stems from a number of influential independent Canadian musicians (like Sarah Slean and Hawksley Workman), and as a result of her undying ambitions to become a standard figure in the Canadian music scene, shes managed to snag a number of renowned producers to assist in the creation of her debut album Brave New World.

"I was approached by Chris Wynters, who is in Captain Tractor and is the open stage host at the Druid," Glenham says. "He wanted to start producing records, and since he has his own recording studio, he approached me to start the project and to kind of get the ball rolling. Then we brought in James Murdoch, another local musician, to work on the project as another producer.

"Overall, I was extremely flattered. I was kind of like, Of course I want to do this! I was really happy [Chris] was the one who wanted to work with me."

Glenhams energy and DIY attitude will, undoubtedly, further her in todays bustling music industry, but the real ticket to Canadian success can be said to emerge from her ability to remain confident in her endeavours.

"I do feel that I am comfortable in my own skin, to a certain extent but Im still trying to figure out who I am as a person," Glenham says. "By taking on a project, doing this album, getting it out there and promoting it myself, Ill have to have a certain level of belief that, even on my bad days, I think my music is something that should be out there."

AMANDA ASH
- See Magazine - Edmonton - April 6, 2006

Poetic principles
Jody Glenham discovers her lyrical Brave New World

JODY GLENHAM CD RELEASE
W/ Kris Glabush, Sun, Apr 9, 8:30 pm, Savoy Lounge (10401-82 Ave.), $7

Harboring a quirky habit isnt unusual for most musicians. Rehearsing in the shower or obsessing over a missed note can be some of the more conventional examples of capriciousness, but for Edmonton-based singer/songwriter Jody Glenham, her oddity is of the linguistic kind.

According to the redheaded folk artist, neurotic lyrical perfectionism is her badge of eccentricity. Esoteric words and moving instrumentals should, theoretically, go hand-in-hand, but from Glenhams perspective, lyrics are what truly pack a musical punch.

"I find that when I listen to other music, [lyrics] are what I tend to focus on," Glenham explains. "For me, its the songwriting that comes first, and that breaks down to the lyrics. I want to know why people are saying what theyre saying, and I guess thats just where I connect with other musicians and songs."

Although Glenham doesnt necessarily consider herself a poet per se, she does regard herself as a true Canadian musician. Her soundwhich mixes organic vocals with rock, pop, and the occasional electronic undertones stems from a number of influential independent Canadian musicians (like Sarah Slean and Hawksley Workman), and as a result of her undying ambitions to become a standard figure in the Canadian music scene, shes managed to snag a number of renowned producers to assist in the creation of her debut album Brave New World.

"I was approached by Chris Wynters, who is in Captain Tractor and is the open stage host at the Druid," Glenham says. "He wanted to start producing records, and since he has his own recording studio, he approached me to start the project and to kind of get the ball rolling. Then we brought in James Murdoch, another local musician, to work on the project as another producer.

"Overall, I was extremely flattered. I was kind of like, Of course I want to do this! I was really happy [Chris] was the one who wanted to work with me."

Glenhams energy and DIY attitude will, undoubtedly, further her in todays bustling music industry, but the real ticket to Canadian success can be said to emerge from her ability to remain confident in her endeavours.

"I do feel that I am comfortable in my own skin, to a certain extent but Im still trying to figure out who I am as a person," Glenham says. "By taking on a project, doing this album, getting it out there and promoting it myself, Ill have to have a certain level of belief that, even on my bad days, I think my music is something that should be out there."

AMANDA ASH
- See Magazine - Edmonton - April 6, 2006

Lyrics come first for pop pianist (Edmonton Journal Article, April 8th)

Lyrics come first for pop pianist, songwriter Jody Glenham
Edmonton Journal
Saturday, April 8, 2006
Page: E3
Section: Culture
Byline: Sandra Sperounes
Column: E-tunes: edmonton's new music
Source: The Edmonton Journal

An SUV. A tractor. Pots and pans.

All four unlikely instruments figure prominently in the making of Jody Glenham's glorious piano pop debut, Brave New World, a confident, sophisticated album on par with the likes of Sarah Harmer, Sarah Slean and Jann Arden.

The SUV? Her mom's, which Glenham once filled up for $90. She was so revolted by the experience, she ended up writing the title track, a sad, socially conscious number about the ills of the world. Clear cutting. Animals locked up in West Edmonton Mall. Overmedication.

The tractor? None other than Chris Wynters of Captain Tractor, who offered to produce Brave New World after getting to know Glenham at various open stages around town. (James Murdoch also pitched in with the album.)

"He approached me and I was extremely excited," says the Winnipeg native, who moved to Edmonton in 1999 to study music at Grant MacEwan. "It was like, 'Really? You want to work with me?' OK!"

As for the pots and pans, you can hear them on When I Grow Up, a bouncy number which spurts, clanks and heaves like an old jalopy carrying a pack of Keystone Cops.

"We had a frying pan taped to a garbage can," says Glenham. "Then we had some pans hanging from the ceiling. It was great. You'd hit them and they'd swing around."

The carnival-like atmosphere of When I Grow Up belies her sarcastic lyrics about a particular Canadian musician who is all about the AHHRT.

"I think an artist can be successful and not be considered a sellout," says Glenham, 24. "And can change and develop their music and stray from where they started from."

She consciously makes an effort to offer her own diversity on Brave New World.

Standouts include Wrong Again, which opens the album with a fiesty, '60s pop whoomp, carefree pianos and Glenham's sliding notes a la Sarah Harmer. Fairy Tale Ending wafts with the vibe of old Paree, complete with an accordion player and his monkey. Try shows off Glenham's tangy, torchy vocals and ex-Watchmen Ken Tizzard's dusting of electronics. Paper Cups is an Arden-esque ballad with a sly bite. "So you fill up your paper cups with sweet honey expressions," she sings.

Glenham calls herself a neurotic lyrical perfectionist.

"For me, the lyrics come first," she smiles.

"When I listen to music, no matter how great the melody or the production, it always come down to the lyrics. I really like to rhyme but I hate rhyming for the sake of rhyming, so I guess that's my own personal challenge ... I don't care what I write on, I have a milk crate (of lyrics) at home, which I just throw stuff in. I write the best at midnight."

Glenham will also be calling herself a Vancouverite in the coming months.

After seven years in Edmonton, she'll continue her migration west in June. Which means Glenham's songwriting habits will definitely change.

"Here, I find I write a lot more in the winter because we're indoors and I don't like to be cold," she laughs. "I'll be writing about other things in Vancouver -- I'll be writing happier records."

Glenham shows off her Brave New World on Sunday at The Savoy, 10401 Whyte Avenue.

Tickets are $7 at the door. Kris Glabush of Stand Up Firs will open.


- Edmonton Journal, April 8th

Lyrics come first for pop pianist (Edmonton Journal Article, April 8th)

Lyrics come first for pop pianist, songwriter Jody Glenham
Edmonton Journal
Saturday, April 8, 2006
Page: E3
Section: Culture
Byline: Sandra Sperounes
Column: E-tunes: edmonton's new music
Source: The Edmonton Journal

An SUV. A tractor. Pots and pans.

All four unlikely instruments figure prominently in the making of Jody Glenham's glorious piano pop debut, Brave New World, a confident, sophisticated album on par with the likes of Sarah Harmer, Sarah Slean and Jann Arden.

The SUV? Her mom's, which Glenham once filled up for $90. She was so revolted by the experience, she ended up writing the title track, a sad, socially conscious number about the ills of the world. Clear cutting. Animals locked up in West Edmonton Mall. Overmedication.

The tractor? None other than Chris Wynters of Captain Tractor, who offered to produce Brave New World after getting to know Glenham at various open stages around town. (James Murdoch also pitched in with the album.)

"He approached me and I was extremely excited," says the Winnipeg native, who moved to Edmonton in 1999 to study music at Grant MacEwan. "It was like, 'Really? You want to work with me?' OK!"

As for the pots and pans, you can hear them on When I Grow Up, a bouncy number which spurts, clanks and heaves like an old jalopy carrying a pack of Keystone Cops.

"We had a frying pan taped to a garbage can," says Glenham. "Then we had some pans hanging from the ceiling. It was great. You'd hit them and they'd swing around."

The carnival-like atmosphere of When I Grow Up belies her sarcastic lyrics about a particular Canadian musician who is all about the AHHRT.

"I think an artist can be successful and not be considered a sellout," says Glenham, 24. "And can change and develop their music and stray from where they started from."

She consciously makes an effort to offer her own diversity on Brave New World.

Standouts include Wrong Again, which opens the album with a fiesty, '60s pop whoomp, carefree pianos and Glenham's sliding notes a la Sarah Harmer. Fairy Tale Ending wafts with the vibe of old Paree, complete with an accordion player and his monkey. Try shows off Glenham's tangy, torchy vocals and ex-Watchmen Ken Tizzard's dusting of electronics. Paper Cups is an Arden-esque ballad with a sly bite. "So you fill up your paper cups with sweet honey expressions," she sings.

Glenham calls herself a neurotic lyrical perfectionist.

"For me, the lyrics come first," she smiles.

"When I listen to music, no matter how great the melody or the production, it always come down to the lyrics. I really like to rhyme but I hate rhyming for the sake of rhyming, so I guess that's my own personal challenge ... I don't care what I write on, I have a milk crate (of lyrics) at home, which I just throw stuff in. I write the best at midnight."

Glenham will also be calling herself a Vancouverite in the coming months.

After seven years in Edmonton, she'll continue her migration west in June. Which means Glenham's songwriting habits will definitely change.

"Here, I find I write a lot more in the winter because we're indoors and I don't like to be cold," she laughs. "I'll be writing about other things in Vancouver -- I'll be writing happier records."

Glenham shows off her Brave New World on Sunday at The Savoy, 10401 Whyte Avenue.

Tickets are $7 at the door. Kris Glabush of Stand Up Firs will open.


- Edmonton Journal, April 8th