|
Punchy and proudly grimy, Southside comes off lyrically clever and crass, with slow punk percussion and playful brass licks.
- Seattle Weekly
This long-running rap outfit plays real instruments and brings real attitude to their rhymes. On-stage, their octavalent entourage fills the space with bouncing bodies, charisma and harmonious couplets punctuating the right places.
- Seattle Post-Intelligencer
Coming straight from the more studious end of the Seattle hip-hop underground – the same scene responsible for their contemporaries Optimus Rhyme and The Goondocks – Liquors casts misfit heroes Southside in a new musical light. Equal parts intentional refinement and natural musical evolution, it forgoes the loose posse cuts and mixtape-oriented style of its predecessor, Please Southside, Don't Hurt 'Em, for a more cohesive approach, but refuses to abandon that trademark Southside wit and swagger.
- Hipster, Please!
Southside Liquors arrives. A transition into new territory far surpassing any output from the Southside collective. Fucking Transcendent.
- Space Station Media (NYC)
If Frank Zappa were alive today, this is what his music would sound like.
- MasterWorks (Seattle)
Seattle-based Southside opened the SXSW weekend with hip-hop party jams filled with riotous lyrics, referencing everything from Arnold Schwarzenegger to Chuck E. Cheese to spaghetti westerns that had the audience bobbin' and the bartenders doing the running man. The self-proclaimed pioneers of drunken-trucker-garage-hop played a game of musical, er, instruments, taking rotating turns on the mic, drums, guitar, bass, and samples. Their raucous set borrowed from some unlikely sources (Mötley Crüe, AC/DC, Naked Eyes) that had almost every audience member partaking in the free-for-all party.
- Request Magazine (Minneapolis, MN)
Rap from near the corner of Beck and Kool Keith, Seattle's Southside dishes out dashes of chimes, Cypress Hill chops, and Casio into its mix.
- Willamette Week (Portland, OR) |
