If you’re a fan of shoegaze that drifts toward the hazy melancholy of dream pop, Little Glimmer, the latest release from Portland-based Starover Blue, is an album made for you. It’s the band’s fourth studio record, and perhaps their most fully realized to date.
Starover Blue trace their roots back to sunny San Jose, California, and perhaps it’s precisely the blend of Oregon’s introspection and California’s warmth that shapes the sound they’ve cultivated.
The album opens with its title track, Little Glimmer – a stunning entry point marked by meticulous production and the captivating voice of Kendall Sallay. Her deep, velvety tone recalls Beach House, and at moments even Angel Olsen or Nico – a truly memorable and distinctive vocal presence. My favorite moment comes midway through, when the song quiets to a gentle guitar, Sallay’s voice, and dreamy Juno-106 synths, before swelling into an epic, luminous climax – like sunlight breaking through clouds.
The following track, Larkspur, opens with a thrilling shoegaze intro – wailing guitars carving out a gorgeous motif. The song then settles into calmer territory, but the theme resurfaces throughout, evolving beautifully alongside catchy verses until it bursts into a soaring chorus. The way Starover Blue handle shifts in tone and dynamics here is masterful, especially in the second minute, when everything drops out, creating a striking sense of space.
Choke feels more meditative. It begins softly, almost like a ballad, yet carries real pop potential by the end. The raw, self-lacerating lyrics stand out:
I feel like I could choke / Each time I think about it / The way it was back then / I had no reason for it / I was a stupid kid / I was too selfish back then / To feel bad about it / Now I can’t rest my head / I feel too bad about it.
It’s a song that cuts to the bone, reminiscent of the emotional honesty of Daughter – a comparison that also fits the following track, Afterglow, which sustains a similar dark, introspective mood.
The melancholic Gatorade takes us into metaphorical territory, using a baseball game as a backdrop for reflection. It begins with just Sallay’s voice over acoustic guitar and ambient layers, gradually building to an emotional, cathartic finish.
The record also carries a deeply personal thread. It’s dedicated in part to the late Dominic Miranda, frontman of San Jose band The Record Winter and a close friend of Starover Blue. Since his passing in 2020, the band has kept his memory alive by performing his songs – and here, they record Filled Blank Page as a permanent tribute, seamlessly weaving his spirit into their sound. The track begins with acoustic guitar and delicate ambient textures, and when the full band enters after about 45 seconds, it becomes a whirlwind of sound – the final minute and a half is massive, emotional, and overwhelming in the best way.
The closing track, Magdala, also reflects on Miranda and stands as the album’s longest song. Its opening recalls Daughter once more, with Sallay’s vocals wrapped in lo-fi effects before they rise to the surface. Subtle male backing vocals from drummer James Alton, who also shines on Afterglow, give the song added warmth and depth.
Co-founders Kendall Sallay and Dirk Milotz have been making music together for more than 18 years, dating back to their college days in San Jose. And that long-standing partnership shows in the cohesiveness and maturity of thist record. Little Glimmer is a remarkably cohesive record – every detail feels intentional, every transition organic. It’s not an album built around standout singles; rather, it unfolds as a complete, immersive experience. This is the kind of record you can return to week after week, always finding something new to love. For me, that moment right now is Afterglow, mainly for its spectacular intro – but ask me again next week, and I’ll probably have a different favorite. Little Glimmer is that deep, that rich, and that rewarding.
This album was discovered via Submit Hub
motel void 
Leave a comment