PREY//IV
For years, Alice Glass was known as the innovative founding member and exhilarating frontwoman of the culture-shifting, goth-y electro-pop duo Crystal Castles; each track on her solo debut showcases her experience. Now that she’s free from her former band and allegedly abusive collaborator Ethan Kath, *PREY//IV* is an exorcism of her past suffering. “Fair Game” is haunted spoken-word techno written from the perspective of an abuser, which she has publicly labeled “trauma core.” “Pinned Beneath Limbs” explores the societal silencing of abuse survivors; “Everybody Else” is an unsettling listen, albeit offset by Glass’ angelic vocal tone—disassociation soundtracked by a child’s music box. If *PREY//IV* is Alice Glass’ first steps into a newfound creative freedom, she’s allowing the listener to hear what it took to get here—human pain articulated through energetic electronics.
The full-length solo debut from the former Crystal Castles singer is a dark, extreme pop record about abuse, power, and regaining control.
The unbreakable artist has reemerged from the wreckage of her former band, Crystal Castles, with a lazer-focused brutally honest solo debut
On her long-gestating debut album, Glass sounds like she’s walking through memories of being emotionally abused, rather…
An album defined by a sort of constant itchiness, a wish to rid itself of trauma by occupying it so fully.
During the eight years between her departure from Crystal Castles and the release of her debut album Prey//IV, Alice Glass established herself as a solo artist by reclaiming the trauma she experienced before and while she was in the project that made her an icon of darkly experimental electronic pop.
Darkwave veteran Alice Glass has re-emerged with PREY//IV, her debut solo album and first release in five years. The record — a decidedly an...
On 'Prey//IV,' Alice Glass continues to pursue healing through cathartic fantasies of violence. Read our review.
Prey/IV By Alice Glass Album Review by Mark Crickmay. The artist's full-length drops on February 18, 2022 via Eating Glass Records