Last updated: 3 hours ago
When first arriving on the Bay Area scene in late 2014, Pllush made a dent with a powerful set of tracks that fit nicely within the rising wave of shoegaze/dream pop revival bands at the time. However, due to an undeniable songwriting prowess that extends far beyond convoluted pedal-board setups or louder amps, Pllush elevated themselves into a league of sonic mastery. The quartet’s second batch of songs, Please, furthered their growing following and replaced their initial gravitation towards maxed-out guitars and splashed cymbals with an eerie, groove-filled bent. Which brings us to the year 2018, and the release of Pllush’s debut LP, Stranger to the Pain.
Whereas on earlier releases, singer/guitarist Karli Helm merely teased her abilities as a singer, here she fully embraces her natural pop-tinged mastery of the human voice, pushing the boundaries of the genre while layering dizzying harmonies over an instrumental track that Built to Spill would kick themselves for not thinking of first. Meanwhile, Eva Treadway provides a perfect foil with an effortlessly cool approach to laying her sometimes light-hearted and frequently heartbreaking lyrics over her more driving style of guitar playing. Dylan Lockey and Sinclair Riley fill out the rhythm section on drums and bass, respectively, with Lockey’s snap-tight precision guiding the mood and tempo of the record and Riley’s complex bass work constructing a rich and deeply melodic backbone for Helm and Treadway to build upon.
Whereas on earlier releases, singer/guitarist Karli Helm merely teased her abilities as a singer, here she fully embraces her natural pop-tinged mastery of the human voice, pushing the boundaries of the genre while layering dizzying harmonies over an instrumental track that Built to Spill would kick themselves for not thinking of first. Meanwhile, Eva Treadway provides a perfect foil with an effortlessly cool approach to laying her sometimes light-hearted and frequently heartbreaking lyrics over her more driving style of guitar playing. Dylan Lockey and Sinclair Riley fill out the rhythm section on drums and bass, respectively, with Lockey’s snap-tight precision guiding the mood and tempo of the record and Riley’s complex bass work constructing a rich and deeply melodic backbone for Helm and Treadway to build upon.
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