After wowing us with their Affectations EP and follow up single, ‘Dark Glasses’ Lauren Andino and Glenn Fryatt return with their latest release. Fragments is the much-anticipated debut album from Los Angeles based shoegaze dream pop duo, TREMOURS. Having spent the previous couple of years touring extensively across the US and Europe, TREMOURS’ debut studio album aims to recreate the energy and intensity of their live shows.
TREMOURS formed in Los Angeles in 2021. Late night jam sessions in the midst of lockdown uncertainty slowly transformed into TREMOURS creative partnership, driven by the tension between Andino’s hazy, drifting guitars and Fryatt’s urgent, pulsating drums. I’ve been totally hooked on this bands sound since hearing the initial ‘Downtown Demos’ release and it’s been so exciting seeing the bands sound slowly evolve and take shape.
I reached out to Andino to find out what we can expect from Fragments and what the overall theme of the album is.
“Fragments is our debut record, containing the first songs we ever wrote together. About half of it was written during Covid lockdown where we would spend many late nights in the rehearsal studio starring out across the Los Angeles River.”
“The overall theme of loneliness is present throughout the record, but I wouldn’t trade that feeling of looking out over the city, knowing there’s nothing else, and you’re in the right place doing exactly what you’re meant to be.“
Now that sounds intriguing, let’s drop the needle and find out for ourselves.
The album opens on ‘The Ribbon’, a low pace intro with undulating Moog and Andino’s signature rich, chiming guitar tone. Fryatt plays this one cool with sparse percussion to start. The song really opens up in the chorus sections with soaring lead guitar over guttural fuzzed out chords. This allows Fryatt to bring in more of his kit to really make an impact.
Next up we have ‘Postcards’ which was written and recorded in collaboration with label mate Peter Holmström (The Dandy Warhols, Pete International Airport) and features electronic artist Mark van Hoen (The Locust). This one is a more potent brew with Andino’s mantra like vocals shrouded in swathes of psychedelic electronica. Fryatt has real fun here, always busy, always on it and supplying the song with some quite glorious fills and flourishes.
‘Tracers’ is a lighter almost poppier song. The lift in tone from the moody verses to jubilant choruses is exquisite. Andino is definitely channelling her inner Robert Smith for those lead parts. Maintaining that sombre mood whilst somehow simultaneously sending our spirits soaring. It’s that apparent contradiction which first drew me to the band. It’s so good to hear its here on their debut album.
The pulsing Moog polyrhythms of ‘Port Children’ are next. Quite different in texture to the previous tracks with its more muted tones. Leaning into the psychedelic scene with its raga drones and cyclical vocal pattern. The explosive coda elevates this song to another level and, given we are only four songs in, sets our expectations even higher for the remaining tracks.
‘Dark Glasses’ really amps up the drama with Andino’s ghostly vocal drifting over an ominous guitar line. Fryatt’s drumming both sympathetic to the guitar and full of character in its own right. This is only amplified by the psychedelic Moog that brings the whole song together. It’s the secret sauce to this recipe. The swirling, pulsating textures send this song soaring.
We step the pace back a bit on ‘Landing in Rome’. Fryatt really shows his mettle on this one. The sheer variety of rhythms and patterns he pulls out the bag is astonishing. Its this albums equivalent of a ballad. Andino sits back a bit allowing plenty of room for the drums to shine through.
The second track to have been written with label mate Peter Holmström is up next and it’s the recent single ‘Circulation Sound’. This is the band at their most potently dreamy. The ambience is other worldly and eerie. The slow build to the electronica section at the end is so satisfying, each wail of feedback making us think its coming then maybe next time, very clever!!
Following this we have a reinterpretation of Daniel Johnstons ‘Devil Town’. TREMOURS’ rendition infuses the track with that signature shoegaze aesthetic, blending Andino’s lush vocals and reverb-drenched guitars to create a dreamy, immersive atmosphere. I think this approach really offers a fresh perspective on the song whilst maintaining the introspective essence of the original.
‘Burn’ coms in next all urgency and vibrant energy. This song is positively luminous, radiant with the joy of two people so locked in to their instruments and what the other is doing. The subtle reverb-soaked guitar washes are a lovely touch in the gaps. Fryatt keeps the rhythm section busy and moving along nicely yet stepping back where Andino’s guitar need space to breathe.
The album comes to a close all too soon with the farewell hug that is ‘Stay Strange’. The first thing that strikes me is the spacious production. Its almost like they’ve shrugged off that claustrophobia and stepped out into the sunshine. The Moog riffs even sound jauntier (for want of a better word). TREMOURS are leaving us with a smile on our faces.
Listening to TREMOURS is like stepping into a dream where sound bends, warps, and dissolves into waves of shimmering distortion. Their music envelops you in a dense, immersive haze of reverb-drenched guitars, spectral vocals, and pulsating rhythms that seem to hover between reality and the subconscious. Fragments DNA is deeply rooted in shoegaze and post-punk, but it also carries a cinematic, otherworldly quality—like drifting through a neon-lit city at dusk or watching old Super 8 footage of a place you’ve never been but somehow remember. The interplay between Andino’s airy, wistful vocals and Fryatt’s driving, hypnotic drumming creates a contrast that feels both intimate and expansive.
For me their music isn’t just about listening; it’s about feeling. It’s the pulse of memory, the static between radio stations, the slow dissolve of a photograph left too long in the sun. Fans of Slowdive, My Bloody Valentine, The Jesus and Mary Chain, and Cocteau Twins will find familiar elements, sure, but TREMOURS craft something uniquely their own—a sound that lingers long after the final note fades.
Fragments is a fever dream of sound and texture, blending dark introspection with moments of euphoric clarity. Whether you’re landing in Rome wearing dark glasses or sending postcards from a devil town, TREMOURS offer a listening experience that is transportive, hypnotic, and deeply affecting. Stay strange people!
Fragments is out on February 7th 2025 via Little Cloud Records. The album is available on green cloud coloured vinyl which you can check out on the TREMOURS Bandcamp page.
You can follow TREMOURS on social media here…
Tour News
TREMOURS have recently signed with Annibale Bookings for EU/UK representation, with a European tour with The Veldt scheduled for June 2025.
They will also be playing the Space Agency Showcase at SXSW along with several other dates across the southwest in March 2025.
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