When I received Dead Mellotron’s Glitter in the post I glanced at its track list of seven and was rubbing my hands with anticipation. I love a long-song and i always have and seven tracks says to me that the album will include at least one very long song. I honestly believe, that despite being on the pompous and over-produced Use Your Illusion I, "Coma" (10:16) and "November Rain" (8:57) are the best songs that Guns ‘n’ Fuckin’ Roses ever wrote. I also believe that "The Wickerman" (8:21) and "David’s Last Summer" (7:01) are two of the finest songs that Pulp ever mustered up. I know I'm in the minority in regards to both of these statements. So...I was very disappointed to learn that the album I'd built up all this hope for was actually just 26:37 long (shorter than these 4 songs put together), seemingly made up of those common normal length songs that the general public lap up with glee. It wasn’t long before these pre-emptive notions had been dispelled from my mind though and after repeated listening (which is refreshingly easy for a reviewer at such a short running time) you start to realise that these seven tracks are really just two extra long long-songs. Except for an abrupt pause in the middle, presumably for the vinyl, all of the songs here merge seamlessly into one another. The good thing about a long-song is that it has its ups and downs, its middle eights, its changes of pace and key and we get all of that here. Dead Mellotron was originally the mysterious solo project of Baltimore based guitarist Josh Frazier but for this, their third album following two self released records, the fold has expended to include Courtney Corcoran and Aimee Brown. Opener “Stranger” is easily the most straightforward track on the record and one of the few tracks which could stand alone as a single, although in typical Sonic Cathedral fashion, its vocals are incoherent over a wall of sound. It ends with some ambient synth which continues into the far more subdued intro of “Can’t See” which then morphs into a similar fuzzy guitar hook to it’s predecessor. Then the album really takes off, a few minutes of organ and feedback make way for a beautiful piano piece (possibly leftover from the extended recording and re-recording sessions which went into making this record). “Making Up” acts as a reprise of sorts for the first two tracks and then silence. The second act is in three parts and kicks off with some off-key Durutti Column style guitar and vocals (“Babe”), followed by the epic “Oohahh” which does exactly as it claims to. Its the kind of song you wish would go on and on and it kind of does because “Dying” is pretty much another continuation of the theme. A psychedelic, repetitive, droney haze of feedback and melody which leaves you on a high, safe in the knowledge that you can play the album again, even in the shortest window of opportunity. A mini masterpiece.