Indie rock outfit glass beach pivots towards progressive rock on their latest release, “plastic death.” The project is glass beach’s second studio album following 2019’s “the first glass beach album.”

The quartet, comprised of J McClendon, Jonas Newhouse, William White and Layne Smith, has been based in Los Angeles for the past couple years, releasing music in spells from their shared living arrangements. It explains the quirky yet harmonious quality of their output.

The band’s origins stem from a mutual appreciation for similar music styles. McClendon’s solo foray Casio Dad received interest from Newhouse and White, and the three artists decided to link up and record original work under the glass beach moniker. Smith would later join the trio after bonding over Dungeons and Dragons. This relation to nerd culture was solidified when the group performed at a virtual festival, hosted in its entirety on Minecraft.

Through 13 maximalist tracks, “plastic death” bleeds emotion out of instrumentals and dense atmospheres. The album’s opener, “coelacanth,” starts out with a slow-burning piano introduction. Following the entrance of McClendon’s drawn-out lead vocals, drums enter the mix in unique time signatures. This harkens back to the group’s stylistic origins in the math rock scene. 

An early stand-out track is “slip under the door.” The song is a slinky, laid-back groove with a plethora of backing guitar riffs to fill out the sonic space. The lyrics question the true ownership of one’s body, apparently a reference to the lead singer’s experience as a non-binary individual. The introspective nature of “slip under the door” is a hallmark of the group’s work, and such themes surfaced in “yoshis island” from “the first glass beach album.”

The album’s eighth song, “puppy,” feels more like a traditional indie rock number, highlighted by a repetitive chorus and hard-driving guitar riffs. However, it is far from a formulaic track, as evident in its closing breakdown. McClendon uses a higher pitch to blend in with the shrill, distorted sounds.

The album’s lead single, “the CIA,” deals with the paranoia felt by being in a controlling relationship, comparing a partner’s actions to those of the CIA. This comparison is a smart one, considering the CIA’s documented history of covert activities involving illegal espionage, originally presented as a way to safeguard Americans. McClendon admits in the song that while they know it’s unhealthy, they can’t bring themselves to confront the severity of their partner’s deeds.

“abyss angel,” the album’s closing song, begins like the opener. A quiet buildup gives way to a flurry of instruments: drums, synthesizers and guitars. These moments of energy are what makes “plastic death” so special. No sounds are left hanging around in the mix for too long. The final part of the song features calls of longing and fuzzy artifacts, set to delay. With such a muted ending, you would hardly know the whirlwind that took place just a few minutes before. 

glass beach avoids the sophomore slump with “plastic death,” presenting a reflective suite of forward-thinking rock music. To support their new album, the band will be embarking on a nationwide tour.