The Hellp exist in a strange space: everywhere and nowhere at once. They claim to have spawned “indie sleaze,” yet seem deeply embarrassed by the Pandora’s box they opened. They’re signed to Atlantic Records, but somehow still feel like a band operating outside the machine—too big to ignore, yet not quite important enough for a major label to fully care. Despite their reputation for being pretentious or insufferable, their interviews reveal a group that is surprisingly grounded and self-aware. Frontman Chandler Lucy’s observations about Gen-Z audiences shaping online culture reflect a band highly conscious of the chaotic ecosystem they inhabit.

That contradiction fits Riviera perfectly, making it one of my favourite indietronica albums of the past few years. The record constantly wrestles with chaos and pressure, presenting a dream where destruction and hope exist in the same frame. Tracks like “Meridian” explore financial anxiety, while “New Wave America” examines the collapse of the American dream, all while clinging to the desire for the intensity of youth to last forever. I love artists who constantly reject their own identity and tear apart expectations. In a world that feels increasingly unstable, that kind of open uncertainty has produced some of the most exciting music in recent memory. It’s the same feeling I had when LUX came out—and Riviera went platinum in my room the second it dropped.

Musically, one of the biggest reasons I connected with the album is its relationship to trip-hop. Riviera carries the heavy, atmospheric influence of Massive Attack, Portishead, and The Velvet Underground, blending electronic textures with a profound sense of loneliness and decay. They were explicitly trying to make a Massive Attack-inspired track with “Country Road,” and it perfectly anchors the album’s mood. This refined sound is a massive leap from their earlier work. While Vol. 1 had its moments, it was inconsistent, and much of their archived material feels like a band still searching for direction. Outside of Riviera, Enemy stands as their strongest past project, but Riviera is where they fully realize what makes them unique.

This creative peak arrived right alongside a surprising commercial breakthrough. After their manager claimed they couldn’t make a hit, The Hellp proved him wrong with the viral moment of “Here I Am.” While their subsequent project, LL, felt like a deliberate move toward something more accessible—and tracks like “Stunn” are genuinely great—Riviera remains their most authentic statement.

“Here I Am” isn’t just a viral hit; it’s the emotional center of the album and easily my favourite track. Its message of persistence resonated deeply with me during a difficult period, serving as a reminder that simply continuing to exist and try matters in a world that often makes everyone feel replaceable. Riviera isn’t a perfect album, but that’s exactly its appeal. It is anxious, ambitious, messy, and full of contradictions—a perfect reflection of the world it was born into.