On their debut record, Pill’s ability to leap from issue to issue takes lyrical poise and musical understanding. The band’s collective ability to cover a wide range of instruments with comparatively few numbers portrays each member’s musical expertise. Frontwoman Veronica Torres takes on both vocals and bass, while the multi-purposing Jonathan Campolo and Benjamin Gaffe play three and four instruments, respectively. Gaffe’s spastic sax follows the free-jazz doctrine of improvisation, naturally implementing the genre’s experimental ad-lib techniques of Peter Brötzmann and Evan Parker into Pill’s freak punk procedure.
Pill’s formula follows the jagged aggression of self-described “weird punk,” . The NYC quartet’s debut buckles and twists through moments of post-punk fervor, scattered with keen sociopolitical commentary criticizing the emergence of a loathsome wave of marginalization in New York City. Acoustically driven “Speaking Up” is sung from the point-of-view of a particularly tormenting co-worker, whose prods are blatant criticisms of the misogynistic culture of certain workplaces. Torres’ lyrics mock gender-favoring office-space lechery, as she sings in bully-like fashion, “You’re gonna get fired/for speaking up.” Her words are hurriedly speak-sung, recorded with a notable sense of sonic and physical distance in comparison to Convenience’s other tracks, which simultaneously reflects the “distance” Torres creates while assuming the voice of a sexual perpetrator.
Exceptional moments are frequent, as highlight tracks deliver some of the most spirited progressive punk to come out of NYC in recent years. The acidic “100% Cute” sears through two fiery minutes of Torres’ shrills and yelps delivered over a manically descending bass and psychedelically warped effects. Riot grrrl ideals find Pill’s frontwoman at the forefront of feminism, as she proves herself to be Liz Phair’s rightful heir, becoming the latter’s sexualized successor on “Fetish Queen,” while closer “Medicine” ends Convenience on a more musically optimistic approach to Pill’s relatively unnerving and panicky formula. The latter track is the most accessible piece on Convenience, both musically and lyrically. “Medicine” is an excellent end to a wildly eccentric release, sure to have listeners hitting repeat after performing a double take at the album’s conclusion.
Convenience’s distinct eeriness establishes the album’s thematic ideas in a logical order, developing a specific sonic atmosphere across the sequence of the tracklisting. Torres’ frantic and vehement vocals cease during key instrumental numbers scattered throughout the album. Each song of pause not only contributes to the album’s underlying aura, but also become fully enjoyable, standalone tracks. The aforementioned “100% Cute” is followed by the palate-cleansing “Sex With Santa,” which provides a subdued transition through a menacing bass over rhythmically trickling drum lines.
Not only is Pill’s lyrical ability truly commendable, but their musical exploration with dissonance, experimentation, and improvisation through a post-punk lens finds their sound particularly difficult to pin down.
The Fat Angel Sings 