Pill is an energetic Brooklyn four-piece advancing quickly on a journey into the realms of art-friendly post-punk-derived raucousness. Earlier this year they issued a self-titled five-song EP to a largely affirmative response, the 200 copies of its cassette incarnation wasting little time evaporating from availability. Likewise, the group’s fresh 7-inch on Mexican Summer is poised to sell out its limited edition of 300 in unusually rapid fashion; as of this writing only 28 remain, and folks into ’79 Rough Trade, ’91 Kill Rock Stars, and the first couple decades of Sonic Youth’s existence are encouraged to investigate.
Latter-day immersions into deep-rooted genres regularly find success through the combination of inspiration and ingenuity. This is no great revelation of course, and for that matter neither are observations into how fresh expressions of long-established sounds (rather than conscious attempts to chart new musical territory) commonly profit from inclusionary attention spanning across decades.
Sometimes this leads to hybridization bordering on innovation anyway; Pill’s post-punk/indie rock merger isn’t all the way there yet, but vocalist-bassist Veronica Torres, saxophonist Benjamin Jaffe, guitarist Jonathan Campolo, and drummer Andrew Spaulding have made laudatory strides in a relatively brief timeframe.
Their debut arrived courtesy of the Dull Tools label. The endeavor of Parquet Courts vocalist-guitarist Andrew Savage, in addition to his band’s 2012 LP Light Up Gold, Dull Tools has released product from Beth Israel, PC Worship, Future Punx, Eaters, and others. Simultaneously promising and surprisingly confident, the trajectory of Pill’s introductory effort was admirably lacking in predictability.