Soul Glo


(Copyright © 2021 Piero Scaruffi | Terms of Use )
" " (2014), 7/10 (mini)
The Nigga in Me Is Me (2019), 6/10
Diaspora Problems (2022) , 7.5/10
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(Clicka qua per la versione Italiana)

Philadelphia's hardcore combo Soul Glo, fronted by black singer Pierce Jordan, debuted with the brief songs of the 19-minute mini-album " " (2014), each song being an eruption of visceral screamo. Guilty of Being Wait, Inextricable, Put Yr Head Down are deliriously angry and desperate rants. The slightly more musical Created in H.I.S. Image and Son of a Gun

The seven-song EP Untitled (2015) experiments with different formats but ends up diluting the energy. However, 5 is an almost bluesy take on the genre of screamo. The 20-song album Untitled (2016) collects the album and the EP.

The songs of the 17-minute mini-album The Nigga in Me Is Me (2019) are a little more elaborate. 32 and 31 (the standout) even toy with hip-hop and funk. 23 has time to change tempo a couple of times.

The five-song EP Songs to Yeet at the Sun (2020) contains their political anthem Do the Right Thing and a song (29) that includes piano, saxophone and trombone.

Diaspora Problems (2022) is the rare hardcore album that benefits from a more polished sound. One can finally appreciate the work of Ruben Polo on guitar, Gianmarco "GG" Guerra, on bass and TJ Stevenson on drums; and Pierce Jordan's screeches are not diminished at all. The album is an exhausting infernal barrage as much as the first mini-album. It is also another fiery analysis of sociopolitical phenomena. They venture into rap-punk with more confidence, whether the drunk Gold Chain Punk, the vomiting John J or the manic Godblessyallrealgood (or the less successful, slower, Spiritual Level of Gang Shit). At the same time they remain loyal to classic mosh-pit punk-rock with bangers like Thumbsucker in the tradition of the Germs, and the frenzy of The Thangs I Carry is almost grindcore. This is still where they excel: in sheer uncontrolled fury. Even better when it's wed to excessive psychic gestures, like the unbridled storm of foaming insults which erupts from the twisted Coming Correct Is Cheaper, the breathless bombardment of machine-gun guitars in Fucked Up If True, the bulldozer rhythm, thrash-metal riffs and chaotic drummming of Jump, and the insanely anthemic hyper-rockabilly of We Wants Revenge (yes, "wants").

(Copyright © 2021 Piero Scaruffi | Terms of use )