Hailing from Philadelphia, Soul Glo is an American Hardcore band with a diverse array of influences and a turbulent history. While the notable ups include signing to the legendary Epitaph label in 2021, releasing two Eps before heading out on tour; the downs include guitarist GG Guerra finding himself on the receiving end of a racial profiling incident. Such incidents lie at the heart of the band’s hardcore fury, but there’s more to the band’s sound than just a nod to the incandescent fury of the US punk scene, and elements of rap seep into the mix, alongside aspects of At The Drive In’s post-hardcore assault. However, as musically accomplished as the band may be, it’s the articulate lyrics that seal the deal, placing a genuine sense of grievance at the heart of the seething maelstrom of noise, resulting in an album that is as thoughtful as it is visceral.
It opens with the sound of a bong pulling through, before jangly emo guitars lead us into the ferocious Gold Chain Punk, which sounds like And You Will Know us By The Trail Of Dead jamming with the Beastie Boys, back when they used to deliver dizzying hardcore workouts amidst the free flowing rhymes. It’s one hell of a start, building in intensity until it collapses on itself in a storm of screams and feedback. Next up, the hip hop-infused Coming Correct Is Cheaper sees a clattering beat offset with punchy samples, before Guerra’s scything guitars send everything toppling sideways. More surprising is Thumbsucker, which drags a brass section kicking and screaming into the mix, the resultant track sounding like an amped-up Rocket From The Crypt. With Pierce Jordan’s blistering lyrics (and they’re worth looking up) delivered with rap rhythms and hardcore fury, it’s an album highlight and a perfect example of the way in which the band have managed to create something musically and lyrically cathartic out of their experiences. Offering no such niceties, Fucked Up If True simply explodes out of the speakers, the band upping the ante until Jordan’s screams segue between grindcore blur and guttural, deathly growl. It’s a moment of pure intensity and highlights not only the myriad influences that sit at the band’s core, but also their ability to bend them to their will. In contrast, Jump (Or Get Jumped!!!)((By The Future)) is a full-on rap rock conflagration that draws on the same raw energy as Sabotage and comes off damn near as catchy. With the album’s midpoint fast approaching, Mother Maryrose drops in to lend a hand on Driponomics, a stream-of-consciousness take down of the neoliberal agenda. Powered by a beat of industrial strength, it appears to provide a moment’s respite from the savage guitars, but it’s simply a different kind of heavy the band engage in here, and it’s no less potent just because it’s not screaming directly into the listener’s face.
Opening up the second half, (Five Years And) My Family dips into post rock soundscapes, the band’s infinite capacity to surprise in evidence, even if those early moments of calm are simply a misdirect that belies the sonic pummelling that’s waiting in the wings. Bearcat appears to help guide The Thangs I Carry, a grinding art punk melee that mixes Sonic Youth, Black Flag and Tricky to astonishing effect. The most straight forward hardcore song on offer, We Wants Revenge could easily have fallen off the back of a Sick Of It All Album, and it is dispatched with speed, barely clocking in over the two-minute-mark. John J, initially the equal of its brutal predecessor, takes some interesting turns and, as GG’s guitars dip ever further into post-rock territory, the increasingly frantic vocals emerge to pick up the pace. Next up, and with the album hurtling towards its end, Godblessyallrealgood is a rap-rock collision pinioned by hardcore fury and made all the more brutal when the band deploy a crushing breakdown reminiscent of Fever 333 at their heaviest. Providing the album with a reflective conclusion, Spiritual Level Of Gang Shit strips away the guitars, adding in jazzy flourishes, schizophrenic outbreaks and enough space for the lyrics to breathe, before the band throw in one last blast of brass-infused hardcore to bring the album to its breathless end. It’s a brilliantly realised finale to a record that delights in the unexpected, and it highlights the extreme skill with which Soul Glo deftly balance their influences.
This is a belated review for an exceptional album. While Soul Glo most obviously operate in the realm of hardcore both musically and lyrically, what elevates Diaspora Problems are the array of influences that filter through the mix. There’s both passion and precision here, the band frequently demonstrating impressive musicianship, while maintaining the spontaneity of the stage rather than the sterility of the studio. Articulate, cathartic and frequently brilliantly eclectic, Diaspora Problems is a powerful statement from a deeply impressive band. 9/10
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