SLV are one of the most entertaining bands in New York to watch. They’re all about textures, meaning that everybody in the band is constantly shifting from one thing to another. Frontwoman/multi-instrumentalist Sandra Lilia Velasquez’s other band, Pistolera, plays pretty straight-up jangly rock with a Mexican folk edge. This band is a lot more complicated. Velasquez writes very simple, catchy, direct themes, then builds them kaleidoscopically with an endlessly psychedelic stream of timbral shifts and exchanges between instruments over a hypnotic groove that sometimes rises with a completely unexpected explosiveness. Portishead and Stereolab seem to be strong influences, as is Sade (a singer Velasquez has grown to resemble, but with more bite and energy) and possibly artsy pop bands from the new wave era like ABC and Ultravox.
SLV played a big gig earlier this summer at South Street Seaport that was reputedly very well-attended (this blog wasn’t there). Hot on the heels of that one, they played another one at a small venue way uptown that was not. From the perspective of one of maybe two customers in the entire house, it was like getting a personal SLV show, and that was a lot of fun. Velasquez sang in both English and Spanish with her eyes closed, lost in the dreamy wash of textures floating over the groove – except when she was trading animated riffs with guitarist Mark Marshall, bassist/keyboardist Jordan Scannella and drummer Sean Dixon.
The show was more of a single, integral experience than a series of songs. Marshall kicked it off with with a hammering drum duel with Dixon before the bandleader took the song in a hazy, Sade-esque direction – her moody alto delivery has never been more expressive or enticing. They kept a similarly gauzy/jaunty dichotomy going through the next song, then Velasquez switched from guitar to keys for a number something akin to a funkier update on Peter Gabriel’s Solsbury Hill. From there they made their way through an intricately rhythmic, swaying number that contrasted ambient atmospherics with Marshall’s incisive, stabbing lines.
The most intense number of the night was the most stripped-down one, History, Marshall playing its brooding Neil Young-esque changes as Velasquez intoned the lyrics – a caustic commentary on media duplicity – with a muted anger. Through a Pink Floyd-ish interlude with a spine-tingling, Gilmouresque Marshall guitar solo, an artsy 80s-tinged trip-hop number, and a Beatles/tango mashup with some deliciously icy vintage chorus-box guitar, the band kept up the endless series of elegant handoffs and exchanges. They closed with a jangly, biting version of Never Enough, the opening track on the band’s Meshell Ndgeocello-produced ep, sounding something like a trip-hop version of the old Golden Earring hit Twilight Zone. SLV are back in the studio now; keep your eyes posted for some of this new material to surface sooner than later.