A contemplative, dark yet incredibly captivating comeback... 21 · 11 · 2025 Noah Dillon and Chandler Lucy are the initial creators of a sound and vibe that has emerged at the forefront of underground awareness. Dillon remarked, “When I founded the band, I had a singular goal: to make a mark in the underground. We achieved that by 2019.” This could be seen as egotism or viewed as self-praise amidst the vast discussions in the music world circulating on the internet. However, he makes a valid observation. Before the emergence of Hedi boys and the phrase 'indie sleaze revival,' The Hellp was gradually developing a sound and vision. A distinctly American perspective: freedom. By combining various sounds and influences, they shaped something fresh and unique, tapping into a sense of youthful urgency and genre flexibility. ‘Riviera’ is an album that has lingered in Dillon's thoughts for eight years. It was only after securing a deal with Atlantic Records and exploring the edges of alternative pop music that the version of The Hellp we recognize today took form. Their label debut, ‘LL,’ was a strategic experiment focused on crafting “bangers.” This approach received critical praise and helped build a robust fanbase enchanted by the blend of electroclash and indie rock. ‘LL’ is relentless and loud, with The Hellp's desire for recontextualization evident throughout the project, from the witch house influences in ‘Shadow’ to the erratic synthesizers and drums in ‘Rllynice.’ — — This new album adopts a different stance. ‘Riviera’ is marked by a slower, darker tone. The sound design remains abrasive at times, yet Dillon and Lucy construct an immersive soundscape that feels just as much about ascending as it does about descending. ‘Country Road,’ which references the John Denver classic, is polished and atmospheric. Like much of the album, it serves as a backdrop for long drives and nighttime journeys; intimate, visceral, and occasionally euphoric. The closing track ‘Live Forever’ has become a recent live fixture, embodying the same evocative and sentimental qualities found in the 2021 fan-favorite ‘Ssx.’ ‘Here I Am’ features visual artist Maggie Cnossen, who presents one of the catchiest hooks of 2025 with the “From LA to LA, la la la” refrain. This penultimate track on ‘Riviera’ is mournful, presenting a vivid pop sound with subdued electronica while narrating contrasting aspects of Americana. ‘Meridian’ begins with a nod to ‘LL’ opener ‘U,’ featuring an anxious piano motif that gradually builds into a sober pop-rock chorus. It stands out as a definitive moment in the band's catalog. Each element of the track embodies the core essence of The Hellp: genuine hooks, synths that shift from delicate to explosive, and powerful drums. While it might be limiting to distill their sound to just a few signature elements, it is the distinctive character of The Hellp, built upon this foundation, that creates their unique world. Many seek to imitate it, yet Noah Dillon and Chandler Lucy originated this style and continue to excel at it. 8/10 Words: James Mellen — - Join us on WeAre8, as we delve into significant cultural events worldwide. Follow Clash Magazine HERE as we joyfully navigate through clubs, concerts, interviews, and photo shoots. Get exclusive behind-the-scenes glimpses and insights into our world as the fun and festivities unfold. Join the Clash mailing list for the latest updates on music, fashion, and film news.

      A thoughtful reflection on one of 1992's most notable gems...

      In the wake of Sugar's unexpected reunion comes this Record Store Day artifact—a four-disc box set comprising the 12” singles from the beloved 1992 album ‘Copper Blue’. First and foremost, let’s assume you’re familiar with the abrasive sound of Hüsker Dü, the dynamic power trio that brought Bob Mould fame before their split in early 1988. Following their breakup, Mould released two adventurous yet ultimately somber albums under his own name, before surprising everyone by forming another band.

      After recruiting former Mercyland bassist David Barbe and Zulus drummer Malcolm Travis as the rhythm section for a potential third solo album, Mould shared in his 2011 memoir ‘See A Little Light’ that the trio “just felt like a band.” During breakfast at Waffle House, he spotted a stray sugar packet on the table, and thus the new group was born. Regardless of the band’s formation, Mould remained distinctly in charge. With a stellar array of songs influenced by Cheap Trick’s ‘In Color’ and My Bloody Valentine’s groundbreaking ‘Loveless’, the catchy moments coalesced into a hit album titled ‘Copper Blue’. The trio quickly achieved a level of commercial success that sadly evaded the Hüskers, which brings us to the present.

      However, this is not solely about ‘Copper Blue’. There’s no need to dissect it, considering the numerous reissues and think pieces that have emerged in the past 15 years alone. Also, this box set focuses on supplementary materials rather than the album itself. Nonetheless, it’s important to highlight that the album is filled with flawless three-minute pop songs, some of which extend into five-minute tracks. Generally, one doesn't mind this indulgence—whether due to Mould having much to express with an extra verse here, an alternate chorus there, or simply because the hooks invite joyous, increasingly wild repetition. The album's first single ‘Changes’ is the only track to receive a radio edit, with a minute trimmed off, and this brevity remarkably enhances a beautiful sequence of yearning, resonant hooks and sincere sentiment (“I need something that’s warm and honest”).

      The other singles shine brightly: ‘Helpless’ is a straightforward anthem that arguably serves as a template for some of Mould's most enduring solo favorites, while ‘If I Can’t Change Your Mind’ is a jangly masterpiece that encapsulates vulnerability, defiance, and resignation simultaneously. They retain their strength when listened to outside the album’s context. Meanwhile, if ‘A Good Idea’s angular powerpop nods to ‘Debaser’ and the often-cited Pixies line about a ‘bassist into Hüsker Dü and Peter, Paul, and Mary’, we can only wish for a glimpse into a parallel universe where the creators of ‘Puff, the Magic Dragon’ riffed on ‘Bone Machine’.

      As for the B-sides? There are three studio tracks, which stand strong alongside the album’s highlights, though it’s clear why they didn’t make the final cut. ‘Needle Hits E’ showcases classic Bob Mould, capturing the fuzzed-out brilliance he had claimed since ‘Flip Your Wig’, albeit perhaps too lighthearted for the album's overall mood. ‘Try Again’ shifts gears; it’s an acoustic-driven melodrama that effectively builds up to howling feedback and thunderous drums. It’s absolutely brilliant… just not ‘Copper Blue’, and neither is the pounding instrumental ‘Clownmaster’, which is intense but makes you wonder if there was a vocal line left behind in the editing process.

      Beyond a stripped-down vocal and acoustic version of ‘I Can’t Change…’, the remaining tracks originate from a July 1992 performance at Chicago’s Cabaret Metro, where the band delivered the album’s selections with vigor. Scattered throughout the discs are standout interpretations, including a take on ‘Slick’ that embraces the song's menacing finale, a raucous version of ‘The Act We Act’, and a cover of Thunderclap Newman’s ‘Armenia City In The Sky’, featuring Travis drumming like a possessed individual while Mould's guitar produces wild sounds. The live tracks also include two songs that never made it to the studio: the Barbe-penned ‘Where Diamonds Are Halos’, which is rough yet full of hooks, and ‘Anyone’, a fast-paced noise that feels as though ‘Don’t Fear The Reaper’ was thrust into a blast furnace while someone walked away whistling casually. Collectively and individually, these tracks remind us of how tight and powerful Sugar was as a live act—and hopefully will be again in 2026.

      Indeed, for enthusiasts, all tracks featured have previously been released (though on out-of-print reissues of ‘Copper Blue’ or the 30-year-old compilation ‘Besides’), leading completists to ponder whether they truly need this impressive-sounding and

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