Sega Bodega
Salvador
Boomkat Product Review:
‘Salvador’ is the strong debut album from Sega Bodega. Self-released on the Nuxxe label which has hosted his ace productions for Shy Girl, Brooke Candy and Coucou Chloe over the past few years, ‘Salvador’ is a uniquely formed slice of contemporary pop and R&B with an effortlessly avant edge thanks to his diamond-cut studio tekkers.
It also marks the artist’s full fledged emergence from behind-the-desk producer to a triple threat of all singing, all producing, all scowling frontman in possession of 2020 pop’s “narcissistic misery”, as defined by his UK synth-pop forebears, The Pet Shop Boys. However, Sega Bodega is among the most stylish to do this sound, and his music is defined by a subtler, more ambiguous sort of nervous energy and icy cool, balancing woe with glimmers of dancefloor optimism and a curious brand of negative ecstasy.
‘Salvador’ reveals a canny lyricist, too. Bar a cranky interlude of messed-up music box melodies, he sings on all ten other songs, touching on topics of self-abuse and enervation in ‘Masochism’ over a strange mix of hip hop and post-punk drum patterns, while ‘Smell Of The Rubber’ is a thoroughly modern sex jam with the classic opening line “when you lie you look like you’ve cum / but as if you’ve cum in public”, over rugged deep south trap drums.
Held in balance with more “up” moments such as the the rolling electro-pop weirdness of ‘U Got The Fever’, the bolshy swagger of single cut ‘Salv Goes To Hollywood’, and the poignant downstrokes of neo-classical keys and Coil-esque electronics in ‘Calvin’, and the elegiac finale ‘Kuvasz In Snow’, the whole album adds up to one of the most grown-up but acutely modern expressions we’ve heard from the new wave.
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Boomkat Product Review:
‘Salvador’ is the strong debut album from Sega Bodega. Self-released on the Nuxxe label which has hosted his ace productions for Shy Girl, Brooke Candy and Coucou Chloe over the past few years, ‘Salvador’ is a uniquely formed slice of contemporary pop and R&B with an effortlessly avant edge thanks to his diamond-cut studio tekkers.
It also marks the artist’s full fledged emergence from behind-the-desk producer to a triple threat of all singing, all producing, all scowling frontman in possession of 2020 pop’s “narcissistic misery”, as defined by his UK synth-pop forebears, The Pet Shop Boys. However, Sega Bodega is among the most stylish to do this sound, and his music is defined by a subtler, more ambiguous sort of nervous energy and icy cool, balancing woe with glimmers of dancefloor optimism and a curious brand of negative ecstasy.
‘Salvador’ reveals a canny lyricist, too. Bar a cranky interlude of messed-up music box melodies, he sings on all ten other songs, touching on topics of self-abuse and enervation in ‘Masochism’ over a strange mix of hip hop and post-punk drum patterns, while ‘Smell Of The Rubber’ is a thoroughly modern sex jam with the classic opening line “when you lie you look like you’ve cum / but as if you’ve cum in public”, over rugged deep south trap drums.
Held in balance with more “up” moments such as the the rolling electro-pop weirdness of ‘U Got The Fever’, the bolshy swagger of single cut ‘Salv Goes To Hollywood’, and the poignant downstrokes of neo-classical keys and Coil-esque electronics in ‘Calvin’, and the elegiac finale ‘Kuvasz In Snow’, the whole album adds up to one of the most grown-up but acutely modern expressions we’ve heard from the new wave.
Boomkat Product Review:
‘Salvador’ is the strong debut album from Sega Bodega. Self-released on the Nuxxe label which has hosted his ace productions for Shy Girl, Brooke Candy and Coucou Chloe over the past few years, ‘Salvador’ is a uniquely formed slice of contemporary pop and R&B with an effortlessly avant edge thanks to his diamond-cut studio tekkers.
It also marks the artist’s full fledged emergence from behind-the-desk producer to a triple threat of all singing, all producing, all scowling frontman in possession of 2020 pop’s “narcissistic misery”, as defined by his UK synth-pop forebears, The Pet Shop Boys. However, Sega Bodega is among the most stylish to do this sound, and his music is defined by a subtler, more ambiguous sort of nervous energy and icy cool, balancing woe with glimmers of dancefloor optimism and a curious brand of negative ecstasy.
‘Salvador’ reveals a canny lyricist, too. Bar a cranky interlude of messed-up music box melodies, he sings on all ten other songs, touching on topics of self-abuse and enervation in ‘Masochism’ over a strange mix of hip hop and post-punk drum patterns, while ‘Smell Of The Rubber’ is a thoroughly modern sex jam with the classic opening line “when you lie you look like you’ve cum / but as if you’ve cum in public”, over rugged deep south trap drums.
Held in balance with more “up” moments such as the the rolling electro-pop weirdness of ‘U Got The Fever’, the bolshy swagger of single cut ‘Salv Goes To Hollywood’, and the poignant downstrokes of neo-classical keys and Coil-esque electronics in ‘Calvin’, and the elegiac finale ‘Kuvasz In Snow’, the whole album adds up to one of the most grown-up but acutely modern expressions we’ve heard from the new wave.
Boomkat Product Review:
‘Salvador’ is the strong debut album from Sega Bodega. Self-released on the Nuxxe label which has hosted his ace productions for Shy Girl, Brooke Candy and Coucou Chloe over the past few years, ‘Salvador’ is a uniquely formed slice of contemporary pop and R&B with an effortlessly avant edge thanks to his diamond-cut studio tekkers.
It also marks the artist’s full fledged emergence from behind-the-desk producer to a triple threat of all singing, all producing, all scowling frontman in possession of 2020 pop’s “narcissistic misery”, as defined by his UK synth-pop forebears, The Pet Shop Boys. However, Sega Bodega is among the most stylish to do this sound, and his music is defined by a subtler, more ambiguous sort of nervous energy and icy cool, balancing woe with glimmers of dancefloor optimism and a curious brand of negative ecstasy.
‘Salvador’ reveals a canny lyricist, too. Bar a cranky interlude of messed-up music box melodies, he sings on all ten other songs, touching on topics of self-abuse and enervation in ‘Masochism’ over a strange mix of hip hop and post-punk drum patterns, while ‘Smell Of The Rubber’ is a thoroughly modern sex jam with the classic opening line “when you lie you look like you’ve cum / but as if you’ve cum in public”, over rugged deep south trap drums.
Held in balance with more “up” moments such as the the rolling electro-pop weirdness of ‘U Got The Fever’, the bolshy swagger of single cut ‘Salv Goes To Hollywood’, and the poignant downstrokes of neo-classical keys and Coil-esque electronics in ‘Calvin’, and the elegiac finale ‘Kuvasz In Snow’, the whole album adds up to one of the most grown-up but acutely modern expressions we’ve heard from the new wave.
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Boomkat Product Review:
‘Salvador’ is the strong debut album from Sega Bodega. Self-released on the Nuxxe label which has hosted his ace productions for Shy Girl, Brooke Candy and Coucou Chloe over the past few years, ‘Salvador’ is a uniquely formed slice of contemporary pop and R&B with an effortlessly avant edge thanks to his diamond-cut studio tekkers.
It also marks the artist’s full fledged emergence from behind-the-desk producer to a triple threat of all singing, all producing, all scowling frontman in possession of 2020 pop’s “narcissistic misery”, as defined by his UK synth-pop forebears, The Pet Shop Boys. However, Sega Bodega is among the most stylish to do this sound, and his music is defined by a subtler, more ambiguous sort of nervous energy and icy cool, balancing woe with glimmers of dancefloor optimism and a curious brand of negative ecstasy.
‘Salvador’ reveals a canny lyricist, too. Bar a cranky interlude of messed-up music box melodies, he sings on all ten other songs, touching on topics of self-abuse and enervation in ‘Masochism’ over a strange mix of hip hop and post-punk drum patterns, while ‘Smell Of The Rubber’ is a thoroughly modern sex jam with the classic opening line “when you lie you look like you’ve cum / but as if you’ve cum in public”, over rugged deep south trap drums.
Held in balance with more “up” moments such as the the rolling electro-pop weirdness of ‘U Got The Fever’, the bolshy swagger of single cut ‘Salv Goes To Hollywood’, and the poignant downstrokes of neo-classical keys and Coil-esque electronics in ‘Calvin’, and the elegiac finale ‘Kuvasz In Snow’, the whole album adds up to one of the most grown-up but acutely modern expressions we’ve heard from the new wave.
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