|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
indie
pop, mellow core
|
|
|
|
|
avant
indie,
post rock, post punk
|
|
indie
rock, noise rock
|
|
|
|
|
|
|
alt
rock, power pop,
emo
|
|
garage,
punk, glam + other revivals
|
|
|
|
|
alt
folk, alt soul
|
|
songwriters
|
|
|
|
|
|
|
Recap: Slutever, Bedroom Problems & The Sniffles at JB’s
Last Friday’s sub-par weather failed to put a damper on Slutever’s highly anticipated homecoming. Reeling from the tail end of their “Slutever Do America Tour,” Rachel Gagliardi and Nicole Snyder’s return was well worth the wait. The first decibels of the evening to be heard were by resident pop-punks The Sniffles. Nostalgic but sincere, The Sniffle’s self-defined “boredom core” hit the crowd with a pensive energy, generated by riffs and purposely noisy drums. Cuts off their latest I Used to Be Cool Now I’m Cool EP, like “Waste of Time” and “Get Down” garnished easy applause from show-goers. With high voltage shredding and clever quips The Sniffles’ set was a reminder of basement shows, summer, and the energy of post-teenaged bliss.
Bedroom Problems, a new-ish local outfit, kicked off their set with “At Least Counting is Easy,” a reserved but angsty anthem about the downsides of singledom. The quasi punk-esque outro brings to mind a hybrid of Kleenex and Yellow Fever. Lead vocalist Maria Sciarrino’s lyrics are emotively in-tune with the fundamental sentiments of mumblecore features while her band’s instrumentation falls within the forever present parentheses of moody lo-fi. Onstage, Sciarrino’s diction feels confessional, sincere. Sharing details about her record collection, new dog, new job, and dreams, Sciarrino and her bandmates’ onstage presence is as genuine as their songs. Perhaps Bedroom Problems is a hopeful foreshadowing of an uprising of more femme-fronted lo-fi in the City of Brotherly Love.
Slutever, like always, took the stage with ownership. With Gagliardi sporting a Harley-Davidson tee and Snyder in cutoffs, the twosome shook show-goers to life with the start of “Smells Like Milk.” Coupled with Snyder’s crashing cymbals and pulse like percussion, Gagliardi’s bratty vocals couldn’t have been more perfect. Taking a break to alert their fans that she puked right before their set, Gagliardi confessed to be “really nervous.” Whether a serious confession or in jest, Gagliardi’s fiery presence alongside Snyder’s tight precision, proved the benefits of seven weeks on the road. Slutever’s noise punk continues to improve, rendering their fuzzed-out charm undeniably infectious. “I Can Dream the Rest Away,” felt patriotic, an anthem to the cynically heartbroken or the frustrated and annoyed. The wave of riffs and unrelenting crash of drums fit the mood of the song’s lyrical genius, voiced by Gagliardi. After tracks like “Teen Mom” and the bittersweet chants of “So Prone,” Slutever‘s set ended with “Sun Hot” and applause, confirming that Philly’s shit-fi sweethearts continue to warm the hearts of their fans not only abroad, but most importantly here at home.
Published on August 24, 2011
|
|
|
|
|
May 2012
|
Lushlife
Plateau Vision
Lushlife, a.k.a. Raj Haldar, has been dropping mixtapes since 2005, when he released his debut entitled West Sounds, which was a mashup of The Beach Boy’s classic Pet Sounds and Kanye West’s College Dropout and Late Registration as well as his own verses. On his first label release Plateau Vision (Western Vinyl), Lush continues to develop his eclectic style, combining ‘60s psychedelic, experimental indie and golden era hip hop sounds to create the grandiose, maximalist soundscape beats that he rhymes over.
With his latest LP, Lush establishes himself as a unique artist who is able to take influences from various genres, sounds and eras of music to develop a completely original style that has one foot in classic hip hop and the other through the doorway of the future. This distinctive style is displayed immediately on the album’s opener “Magnolia.” The track combines a beautiful harp sample over a hard boom bap beat with lyrics that reference composer Burt Bacharach, the graffiti culture of Wild Style, Citizen Kane’s Xanadu and Afrika Bambaataa’s “Planet Rock” through his gritty Nas-esque vocal delivery. In “Hale-Bopp was the Bedouins,” which features Das Racists’ Heems, Haldar references his technique as “half-Delorean, half-rap historian.”
Plateau Vision boasts an impressive guest list of artists including Andrew Cedermark (Titus Andronicus), Styles P and Shad amongst others, but Lushlife always shines through as both an emcee and a producer. The first feature comes from Styles P (famous for his work with ‘90s hip hop crew LOX) on “Still Hear The Word Progress,” one of the LP’s standout tracks. Lushlife trades bars back and forth with the iconic emcee at a furious pace without losing a step over a dense synth and 8-bit beat. Towards the halfway point of the album, Lush shines brightly with fellow Philly emcee and former Atlanta native STS on “Glistening,” and he hands over the mic on “Gymnopedie 1.2” to critically acclaimed Canadian emcee Shad while crafting one of the most interesting beats on the Plateau Vision by sampling one of 20th century French composer/pianist Erik Satie’s “Gymnopedies,” which fades out under a clip from Busy Bee and Kool Moe Dee’s classic emcee battle, tying Haldar’s classical and jazz upbringing with his “fetish” for golden era hip hop culture.
Lushlife is definitely one of the most interesting artists in hip hop today. He continues to push the genre’s boundaries with his production while remaining true to its culture through his vocal delivery and preservation of its history throughout his lyrics. Plateau Vision is available for streaming HERE, and you can purchase the album via Western Vinyl. - Dan Brightcliffe
|
|
|
|
|
|
|
|
|
|
|
|
|
|