Sega Bodega – Salvador Review

On Valentine’s Day, Sega Bodega released his first album. If the last EP, self*care, was heterogeneus as “the portrait of an artist in flux”, Salvador  finally mirrors a clear picture of the complex world of an artist who, alongside with coucou chloe and Shygirl, already contributed to define new balances between accelerated pop and fatalistic industrial drifts.

Salvador, on the other hand, surprises again presenting a clean pop concept, where the sick tendencies are controlled, sometimes even subliminal, like wounds on the face of a human being who’s gone trought some major troubles growing up, but finally found its way.

The album starts with the desperate intro of “2 strong”, “It feels like something’s wrong It’s coming on too strongYou wanna leave but best believe Out there you won’t last“, with a voice that reminds of the sickest Korn’s Jonathan Davis. Then, passing trought a claustrophobic guitar, the song explodes in a dreamy carillon, to deviate, again, in schizofrenic interludes.

Pitched voice and vocoder are essentials to express the conflict that is going on over the entire album. Alcohol abuse like in “Masochism”, one of the album peaks, alienation as in “Raising Hell”, relationships’ highs and lows and toxic partners confronted with sarcasm in “U got the fever”, “U suck”, Kuvasz in Snow or in the romantic ballad “Calvin such as in the RnB of “Smell of Rubber”. “When you lie you look like you’ve cum, but as if you came in public. Slightly nervous, red faced. But deep down I know you love it.“. These are the topical issues of such an intimate album, alongside with Salvador own demons, faced without any defense at the top of the album with the gothic piano of “Heaven Knows” and the eerie nursery rhyme of the single “Salv goes to Hollywood”.

On every moment the album sounds ironic, caustic and sharp but not less open hearted and intimate, like a both merciless and caring love letter to Salvador Navarrete, aka himself.

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