Formed in New York in 2023, they put out single after single, each one sharp enough to catch ears far beyond the city. NPR, Stereogum, Brooklyn Vegan were all quick to notice. Spotify picked them up for playlists. The live shows came thick and fast. By the time they crossed the Atlantic for their first European tour in 2025, the sense was clear: this wasn’t a band testing the water. They were already swimming.
The line-up is tight. Jeff Moore fronts with vocals and guitar, Jaye Moore on drums, Johnny Nicholls adding the second guitar, and Kevin Dobbins on bass. Together they hit a point between shoegaze, grunge, and dream pop that feels both rooted in the nineties and wired for now. You hear echoes of Smashing Pumpkins and Hum, but also the shimmer of Nothing and Narrow Head. They’ve found a middle ground where melody and noise share the same space.
The band had a clear vision for this, their debut album.
“We wanted to make a record that felt heavy but also beautiful. Something that hits hard and lingers.”
That is my kinda album. Let’s drop the needle and Get Weak.
The first seconds of ‘When Everything Was Spring’ confirm that plan worked out rather nicely. The guitars bend and sway, thick but never choking, and Jeff’s vocal floats somewhere in the haze. There’s nostalgia in the melody, harking back to that ninety’s vibe. The band don’t rush. They let the track expand and wrap around you, setting up the emotional scale of what follows.
From that stunning opening, ‘To Believe’ tightens the focus. The bass creeps forward with a steady pulse and the guitars lock into a rhythm that feels both tense and propulsive. It’s a track about trust, about whether belief in someone else can hold you up when you’re slipping. The chorus opens wide, a sudden blast of sound that shakes off the restraint of the verses. You can almost imagine the room when they play this live bodies shifting, heads nodding.
The leap into ‘Dissolve’ is seamless. One of the singles, it’s got hooks for days and instantly so. The guitars snarl but the melody cuts through clean, neon bright against the fuzz. It’s clear they know how to balance heaviness with accessibility which is a skill that makes this album click straight away.
‘Sorrow Again’ slides in with more gravity. Another single you may recall I spun on my DKFM radio show. The riff is sludgy and sits atop mountains of growling and sputtering fuzz. The vocal is cracked, almost weary but retains its power. When the chorus hits the fuzz thickens, swallowing everything but that central hook. You can hear the strain in Jeff’s voice, like he’s pushing through the noise just enough to reach you. A sublime single choice.
The mood remains stoic on ‘This Good’. The riff bounces, the drumming feels looser, almost balladlike in its swing. The guitars chug along at a steady march but this song is owned by that vocal melody on the chorus. For all the fuzz and heaviness elsewhere on the record, ‘This Good’ feels stripped back in its intent. It’s a reminder that sometimes a single hook, delivered right, can carry a whole track. Live, you just know this will be the singalong moment.
‘Follow’ brings the noise straight out the gate. Yet another killer riff has you punching the air. I love how the band sit back in the verses and then erupt into life in that soaring chorus. One minute you’re riding that taut, almost restrained groove, the next you’re thrown headfirst into a wall of sound. That’s my kinda song.
‘Slow Saturday’ caught me off guard. It drifts in on a glitchy looped guitar fragment. Then we’re heads down battering through the wall of guitars. This kinda reminds me of the approach Neds Atomic Dustbin would take. Establish a bouncy rhythm through the strumming pattern from the guitars. This allows the vocal to take a more chilled approach which I absolutely love.
Then comes ‘Bloom’. It’s slow reveal via static and a gently strummed acoustic guitar take us into ballad territory. Theres so much space in this song, the vocal in particular occupies the smallest portion of the soundstage. Layers of guitar slide in gradually, lifting the song without ever crowding it. The rhythm section holds back giving every chord the chance to hang in the air. There’s a tenderness in the vocal delivery that cuts through all the fuzz that came before. It’s one of those rare songs that makes silence feel like part of the music.
‘Been Down’ drags the record back up to speed. The riff grinds low and dirty, the heaviest moment on the album. It stomps forward with force, the kind of track that proper rattles your chest if you crank it. The vocal is buried in the mix, almost drowned by the guitars, but it works. The sense is of someone trying to rise up while weight keeps pressing them down. A bruiser of a song, and one that proves Glimmer aren’t afraid to go for sheer heaviness.
The closer ‘Get Weak’ feels like the album summed up in one song. It starts small, almost tender, before swelling into towering choruses. The tension between fragility and force is right there in the title. Weakness isn’t painted as failure here; it’s the thing that makes the beauty possible. By the end, as the final notes fade, you feel like you’ve been taken through every shade of Glimmer’s sound. The light, the shadow, the haze and ultimately, the clarity.
Listening to Get Weak feels like moving through a storm and finding calm on the other side. Glimmer swing between walls of distortion and fragile quiet, but never lose sight of melody. Each track carries its own weather but what makes the record linger is the way those contrasts feel human. Loud, soft, broken, hopeful. By the end you’re not left crushed but strangely lighter, as if the band have taken weight from your shoulders and shared it with theirs. If this is what it means to Get Weak, then weakness has never sounded so strong.
Get Weak is out on October 3rd on vinyl and cassette via Abandon Everything Records. Follow the band on the Glimmer Bandcamp page.
You can follow Glimmer on social media here…
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