Christopher Nosnibor
Snakerattlers are BACK! Almost two years to the day since their last show, the ass—kicking psychobilly duo are back on the circuit, and landing in style to launch a new album, The Left Hand Path at the same time.
Snakerattlers have always embraced their DIY position as something that enables them to do things their own way, and this event is exemplary: whereas album launches are often massive blow-outs with loads of bands and balloons and gimmicks, which mean you’re knackered by the time the headliners take the stage, they’ve gone for something that’s truly special and personal, in the form of an afternoon show with no supports, playing the album live in its entirety for the first ad only time, with some talk about the inspiration for each song before its played. It’s also noteworthy that said album is only being released on CD and vinyl: no downloads or streaming. A proper album, old-school.
The times on the door list Doors as 2:30 and Snakerattlers 3-4pm, and it’s getting busy when I arrive at 2:40, and while I am not tall, I’m amazed by the fact that practically everyone in the place is a fucking giant, so I grab a pint and get down the front, quick. Dank ambient atmospherics rumble over the PA.I figure there’s probably not much point trying to photograph the scribbled set list since the pitch of the launch event is to play the new album through as a one-off. So I suppose this is something of an in-the-moment first-hearing album review as well as a live review.
They’re punctual, and Dan’s grin is something to behold. He may be shitting his pants nervous, but I don’t think I’ve seen anyone look happier to be onstage before. As a band who usually play around a hundred shows a year, a two-year enforced break probably felt like having their limbs amputated.
They’re straight in with a swampy reverby tune with no lyrics beyond ‘wooh’ and ‘huh!’ by way of an intro, and it feels like they’ve picked up precisely where they’ve left off, although it very soon becomes apparent that there’s been a significant shift in the world of Snakerattlers as they start working through the album. That’s what happens when there’s a global pandemic and successive lockdowns, and Dan is a lyricist who very much writes about the moment, meaning there’s a lot of contemplation and a darker atmosphere across the album as a whole. And while Dan is the voice and the mouth of the band, Naomi’s contribution should never be underestimated. Quiet, serious-looking, she’s the perfect counterpoint in terms of character, while her drumming has a natural feel to it, and a nice, easy swing, even at pace.
‘One Hand’ is a song not about wanking, but about friendships (or lack of) and in some ways, independence, echoing the sentiments of The Fall’s ‘Frenz’. It starts gentle and sensitive, then goes blamm! ‘No Friend of Mine’ continues the theme of friendship, “All relationships are empty and temporary,” Dan comments in the song’s preamble, nabbing a Mansun lyric in the process, before launching into a rambunctious country-punk knees up. It’s about a minute long.
The songs feel evolved, and show a keen attention to changes in tempo and pacing, and the album sequencing also feels considered – which corresponds with the formats of choice, with the jangly ‘Rattle in my Bones’ ahead of the darker, gothy ‘I Remain’, with hints of The Gun Club. It’s slower, and fully anthemic, and I find myself prickling with goosepimples. ‘In the Ground’ is a contemplation on death penned during the pandemic, and it’s mid-tempo, minor key punk, and utterly magnificent to boot.
Taking the “darkness dial to 10” as he puts it, ‘All Hope is Lost’ emerged from a dark place during lockdown. It’s tense, and while it’s not quite Joy Division, it’s pretty damn bleak – but still manages a hook. ‘Small’ is more old school rock ‘n’ roll, while ‘It Comes’ (if that’s what it’s actually called) is a churner about insomnia, while ‘Spooks’, which emerged last year is more standard Snakerattlers uptempo Fall-esqu rockabilly – or rattle rock, as they prefer to call it.
There’s another switch with the twangin’ instrumental boogie ‘Wolf Dance’ that paves the way for the final double salvo of kick-ass tunes, culminating with the fast, angular ‘We are Your Hell,’ inspired by a dickish punter facing off to the band at their last gig in Leeds on 5th March 2020. It’s a storming finale to the album, and to the set. It’s been exactly forty-five minutes, and it’s been a blast from beginning to end.
And with that, they’re off to man the merch stall. Rock ‘n’ roll! Yes, Snakerattlers are most definitely BACK!
Aural Aggravation 