The Gliding Faces - Veritas

Review by Karl Magi

Overall Album Impressions

The Gliding Faces’ Veritas combines Daniel Graham’s intoxicating electronic soundscapes, Max Herring’s powerful songwriting which roams across complicated emotional landscapes and his superb vocal performances to create synth-pop music with a dance edge and a rare level of insight and moving feeling. This is an album that makes me want to shake my booty while crying. In my world, that's an unbeatable combination.

Daniel Graham's production skills and ear for creating fascinating, entertaining synth textures lends Veritas dynamic energy and luscious depth. His sound combinations are first-rate and the melodies he writes are hooky and addictive. The way he propels the music while giving Max Herring space to emote and express himself adds even more quality to the album.

I am strongly engaged by Max Herring's songwriting chops and vocal skills. His songs explore anxiety, love, broken-heartedness and memory with sensitivity and tenderness. I find myself engaging with my own past feelings as the album unwinds. The way he's able to translate his lyrics into expressive vocal performances brings them home with immediacy.

The way Veritas mixes powerful feelings with danceability and bursting dynamism is quite enjoyable for me. I find myself being pulled in by Max Herring's songwriting and singing while Daniel Graham suffuses me with active liveliness and a sense of musical inventiveness.

My Favourite Songs Analyzed

“Things I Can’t Explain” comes to life as truly colossal bass tumbles and synth chords glow with luscious light. Max Herring’s fragile, tremulous vocals carry a melody full of exquisite aching as the synth continues to vibrate with surrounding light.

Max Herring’s voice is deep with hurt as industrial sounds clatter and soothing synth chords slide above the huge bass. Both singers intertwine their uniquely touching voices as the melody shivers with melancholy while the bass tumbles.

A twisting, smoothly flowing synth echoes, gripping my heartstrings with the melody’s mournful sensations. Lush bass continues to join with the shaping drums while the synth melody cries out.

The broken vocals call out with engaging emotion as rounded notes flare and the deep bass rumbles. The voice carries a pain that is raw and immediate as the hard-hitting industrial noises echo again. The singers combine their voices as the song comes to an end.

The narrator tells the song’s subject that he knows it causes them pain when there are things he can’t explain, like “where I was last night, what I was doing.” He adds that he can’t really say and it isn’t worth pursuing because “some things I can’t explain.”

Those things include “how a sunrise makes me feel,” and the way it’s torture for them to “deal with problems in our lives.” One of the problems is where he or the other person was when one of them was crying. He acknowledges the other is in great pain but confesses, “I’m stuck with the truth that I have to be lying, some things I can’t explain.”

He also struggles to explain how the subject wishes on a shooting star or how they ended up where they are, with “so many problems in our lives.” Now he asks where the song’s subject was last night “while I was fighting for us to be free of this pain.” He says they were elsewhere, “doing wrongs, I was fighting some things I can’t explain.”

These unexplained feelings include what it’s like to be misunderstood and how “what seemed awful really was good for the problems in our lives.”

Fiercely flaring synth slices with clean edges to join a rapidly trembling pulse to start “It's on Me.” Scintillating synth shines in intertwining lines as the percussion ticks and now the bass explodes with dynamic motion. A positive sensation fills the music as it flies forward and Max Herring’s softly elevated vocals fill the track with emotive depth.

The vocals are full of encouragement and support as the muscled drums and heavy bass rebound while the gleaming synth dances. The music’s propulsive nature matches Max Herring’s positive delivery, touching me with its sincerity of expression.

The drums continue to throb solidly and the vocals echo while the chorus flies and glistens. The bright synth glimmers as the percussion and bass interlock and fade. Max Herring’s gently affecting voice calls out while the synth exudes sunlight. The tremulous sound shifts again and the brilliant notes carry the hopeful melody as the song comes to an end.

Our storyteller points out the subject has been through a lot and seems to be losing touch, saying, “Reality is scratching your skin, your nightmares are moving in.” He encourages them not to let the thoughts “living rent-free” take away the shine “we all love to see.”

He reminds them that it’s all on him and they shouldn’t worry because “I’ve got you.” He says that when things get tough, “emotions rear their head,” they just need to remember he’s there and none of it is their fault.

Again, he tells them the intrusive thoughts shouldn’t steal their luster. The song’s subject worries they’re a burden, but the narrator reassures them he understands that “it’s love you need to face the day,” encouraging them to get up and face it because “we want you to stay.” He concludes, “You’ll never have to worry. I’ll always have your back.”

“Runway” opens as a twisting, sweeping synth rises smoothly as a glistening synth twines out above the gigantic bass and metallically guiding drums. After a percussive flourish, shiny chimes bounce as Max Herring's voice captures the song’s hip-swinging feeling.

The pounding bass and clean drums propel the music as a radiant synth carries the lissome melody and Max Herring has a twist in his voice which I find enjoyable, like a wry smile, as the string section shines. The low end is a solid pulse as the lyrics bounce between stereo channels and the French spoken word part adds another fun touch while the strings leap between.

Varied percussion taps as the drums and bass guide the music. The pipe organ part rings out with luminous energy and the open-voiced synth vibrates before the strings flash again and the low end thumps before the song comes to an end.

The narrator talks about a model walking the runway, feeling their “skin against these seams." He points out that confidence is everything and "with a smile you can spill the tea." He describes the model’s "stomping stilettos" as they catch their breath, adding that they never smile and they're "fresh to death."

Our storyteller describes the runway "lit like a boxing ring" and says it makes "the rhinestones sing." He adds that the runway feels like a tightrope as it feeds the people’s hope. As the eyeshadow runs down the model's cheek, he reminds them to "charge those hips, hit the beat.”

The narrator describes the model turning the corner and catching the light as they allow the crowd to "power your flight." The song ends as the narrator says in French: "Dressing is a way of life. Without elegance of heart, there is no elegance. Life is made up of little pleasures. Beauty has no age.”

Ghostly sounds and exhaled breaths drift past to commence “Last Night.” A sparkling sound flickers as Max Herring ’s passionate and painful vocals carry the yearning melody above the trickling synth and broadly tapping snare drum. Delicacy fills Max Herring’s expressive voice as a deeper voiceover adds gruff tones, while the xylophone-like synth echoes.

The drums and bass lock into a pounding beat as the trickling note pattern floats. A resonating, hollow percussive instrument moves with Max Herring's voice, which takes hold of my heart and tugs on it. These lyrics are a reminder of a difficult time in my life and one which I find deeply touching.

As the melancholy vocals slip by dramatically, the voiceover continues to repeat the phrase “last night.” After a flourish of percussion, the drums and bass continue to pulsate as the slowly swirling xylophone moves past. Max Herring's voice rises dreaming and full of loss above the drifting bass. A steadily buzzing sound moves as trumpeting notes flare and a laser-like synth trembles.

The snare drum hits hard again as wandering notes move past and Max Herring ’s tender voice slides out again, regretful and needy at the same time. As a string section swells lushly, the low end pulses and the track ends.

Our storyteller talks about the song’s subject being there with him and holding him tightly. He adds, “Last night I became aware while it was getting light that I need you far more than you need me.” He reaches the conclusion that this is just a fact and will remain so forever.

The narrator talks about how they were out together, “dancing through the laser beams.” He wonders if there can be any doubt that the relationship with the song’s subject is “exactly what it seems.” He reiterates the other person needs him more than he needs them and adds, “But my heart is true and we’ll make it eventually.”

In conclusion, our storyteller realizes they both drank too much the previous night and were barely in control. He goes on to say, “Last night I felt your touch and fell into the deepest hole.”

“Slick” begins as ferociously bouncing bass throbs and a mysterious synth floats with unmoored motion. A rubbery sounding synth carries a ghostly, jazzy melody out above the heavily rebounding low end.

The drums add sharpness as the roaming, peaceful melody joins Max Herring's distinctive voice, which flows with easy motion. Cleanly throbbing drums join with heavy bass as Max Herring embodies the lyrics’ mood. Razor-edged percussion moves with a round-sounding, dense synth while a smooth ringing fills the distance.

A bending synth flows with a silky, chilled-out melody while the vocals drive the message of the song. The low end’s bursting motion and thick bass add power while the vocals move with fragility. Drums and bass snap as Max Herring reaches out to the listener with his unique sound.

The bass throbs and the chorus rises again. The elevated melodic line howls above the hard-hitting low end before silence falls with Max Herring wordless voice.

The narrator says that the song's subject is "slick like the oil pumping through my heart," as he talks about them splashing it around artfully. He adds, "I don't quite know why I'm here, so I'll just keep out of your way." He describes the other person "spinning, spiraling from front to back," as they use "every tool on the rack.” He can see the skill it takes to do it, so he’ll “just keep out of your way.”

Our storyteller talks about the song's subject’s obvious talent, adding, "I watch as the world denies any kind of recompense for what you give away." He says the person has talent in his eyes: "If only the world was kind enough to make you a living, but you're always too forgiving.” He also describes the other person watching as all the likes and clicks accumulate.

If every search doesn't mean a hit, the narrator points out that the other person will be "filled with rage if you're not ranked top of the page." He says the person has "fans in 100 nations," asking if that isn't enough validation for them. He concludes that they "don't seem to get it through, it's all about you."

Ominous bass rumbles beneath a steady drum burst that creates a rapid, rushing sensation as “Disco Paranoia” kicks off. The slamming dance beat is joined by rapidly intertwining synths that gleam with fierce light as cymbals clash. A tightly wound, metallic synth echoes with ghostly nervousness as the low end thumps.

Max Herring delivers anxiety and discomfort as the drums build and a skipping, glimmering synth flies with manic liveliness. The vocals feel uncomfortable and stressed, evoking the same feelings in me. The minor key vocal melody is full of unsettled feeling, while a brightly tripping synth moves with the unstoppable low end.

The song glides into a calmer segment, where a sense of relief fills Max Herring's voice. The drums flourish as the vocals are chopped and reverent noises move behind them. Then the drums accelerate again and the track pounds onward with radiance before ending.

The storyteller feels his nerves jangle in the club “like the lasers above” as people push and shove. He says, “my stomach drops like the beat, the walls closing around my feet,” as paranoia floods his mind inside the disco.

Our narrator hears alarms ringing in his ears and feels “anxiety like mould,” which isn’t being helped by the vodka he’s drinking. He feels like he’ll collapse soon. He adds that his brain is “filled with lies” and his senses are fried, concluding, “there’s so much I’ll take, one more song and I’ll break.”

As the song ends, the storyteller remembers why he’s even at the club and says, “the outside world can disappear, I’ll grab a drink and take a shot and try to forget the lot.”

“Abandoned” begins with undulating, swinging synths echoing out while tiny, crystalline notes sparkle and the chords launch into motion. The vocals are hypnotic and elevated before the main melody flies out on a glimmering synth, full of loneliness, while strings intermingle faintly in the background.

Tremulous percussion pushes forward as Max Herring's melancholy voice cries out with bereft emotion. The strings shimmer as the voice climbs and the track then returns to the swinging, bouncing beat as the chorus carries the sensations of loss that flood the lyrics.

The percussion accelerates and the drumbeat throbs while the vocals swell with pain, moving above rippling arpeggios. The track pulses onward, as Max Herring carries my feelings with it. The chanted chorus swings smoothly once more before the track falls silent.

Our narrator describes “an empty chair, an empty bed, everything empty except my head.” He explains it’s about how “it’s you, yourself alone” and how the song’s subject walked away. As for himself, he’s left behind, bereft, because “it’s me, myself and I you abandoned.”

The storyteller says he was “unaware” and wonders if the other person was ever truly present. He was lost inside his own mind when he was “abandoned, left for dead.” As the song concludes, he mourns that he now has “an empty soul, an empty heart, everything empty now we’re apart.”

“Waste of Time” begins with building, swelling notes that grow over a bass pulse. Darker feelings wash below as a digital synth wriggles through the music while pan pipes exhale smoothly. Flaring chords trip underneath as Max Herring's voice is choppy and full of discomfort. In the background, sunlight spills while Max Herring expresses feelings of worry and anxiety.

As the frolicking notes intertwine, the vocals rise with delicacy and feeling. The low end punches as the performance captures the sensation of unwanted thoughts, while the synth glimmers with light. As the pan pipe synth intertwines with airy lightness, Max Herring fills his vocals with regret while the percussion pulses. The drums and bass keep the propulsion going with luscious depth as sounds twist and break. I enjoy the way the synth adds to the sensations of disconnected discomfort. As a fluting synth dances past, the glistening notes slide together and the track ends with choppy sounds.

Our tale’s teller regrets not having said what he wanted to before the moment vanished. He said he'd move on and let it go, but "that was a lie, I'll think about this till I die." He adds that it's going around in his head and he'll "worry about something else instead." He points out that it's a waste of time, but "I'm a slave to my mind."

The narrator is "preoccupied, antagonized, obsessively agonized," as he overthinks and second-guesses himself. He goes on to say, "give it a rest."

“What We Had” opens as waves of smoothly trembling synth move with twinkling chimes and crushingly massive bass. Starry notes sparkle like far-off dreams and Max Herring's voice reaches out with mingled nostalgia and pain above the smoothly tripping drumbeat. The vocals twist my heartstrings with the anticipation of the pain about to occur.

Chimes glitter as Max Herring's vocals climb with intense emotion and the drums burst. The notes are like silken threads and the vocals are hurting and damaged. As the shining notes irradiate the song, the vocals evoke painful memories. The drums continue to guide the music while the vocals soar upwards and the chimes pour out a scintillating luminescence. The emotion builds until it reaches aching intensity before the fragile notes echo. As a wind sweeps, Max Herring cries out once more before the song ends.

Our storyteller remembers himself with the song's subject as they were "kissing and holding, smiling and laughing." He was "feeling and floating, content and unknowing"utterly unprepared for what was about to happen.

Now, when the narrator thinks about the relationship they shared, he's unable to feel anything else but sadness. When he thinks about what the song’s subject said to him, "everything gets blurry, my heart hurts my head." He finds himself "hoping and crying, drowning and dreaming" as he thinks of the other person with regret.

The storyteller and the song’s subject’s relationship broke down into "shouting and fighting, hurting and panicking" in a torturous loss of meaning. Now he struggles to imagine his life without the other person, adding, “I can't describe the feeling, I can't tell you what I mean.”

He concludes that “you’re my perfection, you bring me joy. That’s why it hurts when you toss me like a toy.”

“Lift” begins with massively rebounding drums that move with a sunset synth glowing with orange light. Uniquely angular drums follow, as the lower-end percussion presses on slowly. The string section carries a positive melody full of hope above the low end. Max Herring enchants my heart with his expressive passion.

Love permeates the melody, which sings as the chorus climbs with sensations of fulfillment and safety. The strings intertwine and add affection as the vocals capture relief and settled comfort. The drums rattle while softly swirling chords interlock and Max Herring cries out with deeply felt sentiment.

Strings shine while the choral voices in the distance rebound and the vocals climb higher, reaching for the stars. The orchestral strings dance with an encouraging melody that folds me into a warm embrace. Aspiration spills through the music before the song ends.

The narrator "felt an eternal dismay, only living for today," and says that with one thing after another, "the future made me shudder." He asks the song's subject how they manage to make him feel so calm. He says the other person gave him a lift and adds, "Your existence is a gift." He feels unafraid in the other person's arms, putting his life in their hands.

Our storyteller reiterates that the other person lifts him up and feels like a gift. He adds, "I'm whole because of you. Till eternity, it's us two." He goes on to say that everything has now changed, asking the song's subject to "understand my sentiment," because the words don't come lightly and he wants to remind the other person nightly that they mean the world to him because "with you, I can just be."

As the narrator concludes, he says he didn’t feel like he could ever be "the sensitive kind, open and ready." But he’s come to realize that it’s so easy and "I get that lift eternally."

Conclusion

Veritas successfully combines melodic beauty, dance floor-filling grooves and emotionally powerful songwriting and singing. The Gliding Faces have created music that pierces my heart and makes me want to dance in the best possible combination of feelings.