The Minnesota band Globlin show up with a short release that doesn’t bother asking for introductions. “Inexplicable Joy” lands on October 31st with three songs that jump between mathcore tension, metalcore drive, and the hazy weight of heavy emo-shoegaze. It’s a small window into how they write together, how they chase tones, and how their ideas spill out fast instead of sitting in folders for years.
“On Your Own” came out of a loose challenge. Calvin laughs about it: “We sought out making the most fucked up, hilariously complex song we could and accomplished exactly that.” Mark remembers walking into practice and seeing random numbers on a whiteboard. “Ok let’s try and just play this and see what happens,” he says, calling the strange prompt freeing because it removed the usual rules.
Nick adds that the intro and outro “strayed from the typical grid of a time signature… apeshit crazy chaotic,” eventually turning into something they didn’t expect but recognized immediately. The band jokingly likens the feeling to that one impossible skateboard trick you’ll never land again.
“Company Fleece” started as a joke riff and slowly became their shoegaze moment. Calvin calls it “Globlin’s very own emo-shoegaze anthem” with a tone stack that took a heavy chunk of studio time to track down. The band credits producer Abe Anderson for what Calvin describes as a “500lb sound.” Josh says it was fun to sit in the pocket without showboating: foundational drums, no double-kick, just pressure. Nick remembers the chase for “huge, heavy, sparkly, aural vibe,” while Mark explains they weren’t copying anyone, just grabbing the energy of the bands they like and stepping into the studio with that momentum. Somewhere along the way, they freaked out over a high vocal belt that still gets talked about.
The title track “Inexplicable Joy” was the first piece finished, and it kicked off the entire EP. Josh says they originally only planned to record that one, but when they booked studio time for drums, they wrote more so the moment wouldn’t be wasted. Mark was leaving for Portland, and there was a subtle urgency — a last session before life pulled the lineup into different routines. Josh calls it the “epic” of the release: two major movements, a voicemail bridge, and a breakdown he considers one of their best. Calvin explains they spent time workshopping the ending before deciding to “let this raw-ass, smack your grandma riff hang.” Nick hopes it gives listeners the feeling of “driving your car off of a cliff at 100 mph,” anxious, tense, and never easing up.
The entire EP was built in an unusual order. Josh recorded drums off memory first, then the band sculpted everything else around the percussion. “This was the first time we did anything like this,” he says, explaining how it forced them to think about what each song actually needed. He talks about “On Your Own” being almost just an idea until the drums landed, then the rest took shape around the hits and rhythmic contour.
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The writing style is quick and instinctive. “It feels like a really good representation of us,” Josh notes, pointing to the diversity of taste in the room. Everyone listens to different things, and instead of blending into a blur, the songs dart across genres with surprising fluidity. Mark looks at “Inexplicable Joy” with a grin: “Ode to your metalcore self. He’s stinky and annoying but you can’t deny he gets down.”
Calvin sums the whole thing up with the hardest question: how do you explain this to your mom, and why does it make you happy? Globlin don’t bother answering. They just let the riffs hang.
