Three years after the release of their debut album Vol. 1, Noah Dillon and Chandler Ransom Lucy have dropped their latest record: LL. Collectively known as The Hellp, this duo has recently ascended within the electronic synthpop scene following the success of their earlier hits “Tu Tu Neurotic” and “Ssx.” The Hellp doubles down on their grungy and turbulent sound with this new album, culminating in an exciting collection of songs that fully embrace today’s growing subcultural zeitgeist that is indie sleaze.
With its electronic and guitar-backed production, “Colorado” was LL’s first released single. As a likely reference to Noah Dillon’s upbringing in rural Colorado, this track naturally feels nostalgic by taping into this retro digital sound reminiscent of the technology and carefree naivety associated with our youth. The album’s other lead single, “Caustic,” has a similar glitchy sound but with an added sense of sonic unpredictability. Dillon artfully supports this hyperactive instrumental by matching the pitch and intensity fluctuations of the production with his vocal delivery. Both songs noticeably follow a similar sonic structure as well, with each striping back to a more acoustic sound in the pre-chorus or hook before exploding into a layered assortment of digital sound bites.
The fast-paced tempo and sustained beat in the songs “Kill4Me” and “Go Somewhere” brought a welcomed sense of urgency and feeling of liberation to the record. As Dillon calls into question the loyalty of his relationships and his desires to escape, these two songs lyrically encapsulate some of the album’s overarching themes surrounding the realizations that come with maturation. “LL,” the album’s title track, similarly grasps at this feeling of growing up and living life as Dillon reminds listeners “the daylight can never confine you” in the opening line of the chorus. However, unlike the other electronic-forward tracks on this record, “LL” leans more indie-rock with its prominent guitar riff and bass-backed sound.
Despite its hush ASMR-like intro, “Rllynice” quickly takes a 180 and crescendos into one of the record’s noisiest and most raucous tracks. Its buzzy bursts of bass sound like they could break a speaker, while its booming and sporadic sound could easily catch an unsuspecting listener by surprise. “Stunn” contains a similar fuzzy synth effect, although a bit less aggressive, that pairs nicely with a riser sound in the chorus that resembles a whistling firework shooting toward the sky. This granular effect has become rather characteristic of The Hellp, having been consistently used and relied on throughout this record.
However, with so much emphasis on the sound itself, the lyrical content sometimes feels put on the back burner. Despite the creative implementation of an array of digital beeps in the instrumental, the lyrics behind “Sinamen” are a little surface-level and repetitive. However, other tracks, such as “9_21,” are able to tell clearer lyrical stories, bringing to light the presence of inconsistencies in terms of writing capabilities across songs. On top of this, the focus on instrumentals additionally makes tracks like “Shadow” and “Halo” that lack their signature chaotic digital sound feel a step behind the others. Albeit, The Hellp is not an artist that is known for or expected to have introspective songwriting in the same sense as a traditional singer-songwriter, therefore this casual lyricism is understandable and not a make-or-break for the record as a whole.
With that being said, Noah Dillon’s vocals throughout this album were a big standout. His tonal fluctuations and over-enunciation of words is a vocal style reminiscent of earlier punk-rock bands like blink-182. These colorful and dynamic vocals are what separates The Hellp from other rising artists of this experimental subgenre, such as 2hollis and damon r., whose vocal performances are generally flat and one-dimensional over their tracks. Dillon’s vocal delivery contributes to a more exciting project overall, as it pairs nicely with Lucy’s production style and simultaneously adds an extra layer of engagement and character to each track.
All things considered, Dillon and Lucy seem to have found their sound with this record. LL feels like a spiraling descent into sonic chaos, successfully revitalizing and honoring the Crystal Castles-esque, electroclash sound. By embracing this grunge 2000s aesthetic with both their songs and signature leather jacket and skinny jean style, The Hellp has immensely influenced both the music and cultural scene by paving the way for the evergrowing indie sleaze revival. Now, having recently concluded their first headlining tour that included a sellout show at The Fonda Theatre in Los Angeles, The Hellp have proven they are ready for what is to come.
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