The Snakes

The Snakes

The Snakes


Well, the scene is set serenely enough at the onset. “Hourly Nightly” begins a two-minute turn back to the psychedelia and a future Pink Floyd where all is dreamy; a mellowing phase that segues into the likes of “Run Cherry Run” and “Little Deaths,” two hip-shaking, toe tapping tambourine songs from the days of The Troggs, The Turtles and those of the generally more wholesome community. “Scene From a Cadillac” will appeal to the more voracious appetite of the “then” rocker aiming for a step out from the crowd; the head bob accompanies the hip shake with a R&B gone punk insurgency, nearly diesel if not for the odd David Bowie byway of one Lenny Pops, guitarist, singer, and undoubted veteran of the tie-die variety. Where the many pre-punkers that came of age in the early seventies are well worn and widely embraced by the underground, there are those fall betweens of a retro/stoner/blues embodiment which The Snakes seem to fit comfortably within-usually safe, occasionally gritty, and generally well set and easy to catch. On one hand there’s the bell bottom curve of strobe-era Rolling Stones on and again to go with a perceptively Dylanesque tone, and Pops, the generally reserved singer, doing well to capture both Iggy Pop and Bowie, surprisingly so on the tender gone tenacious rocker, “Jesus’s Son,” which is definitely among the best of the bunch and a brotherly equivalent to the forgotten Urge Overkill-ers. Overall, we can sum up The Snakes (as sneaky, including a clever “sleeper” track for number eleven that goes heavy on the psych-fx for a soothing yet strong closer that I would’ve missed another second or two later) to owning a vivid preference for image over words (see inlay), a slightly less glitzy Black Crowes like style, capturing the essence of the blues, folk, and R&B, bore of a daisy-faced era, catchy and precursory to the rougher edged four on the floor blow out that saw the sun set on the chill out soon after.

Bomp Records:

Leave a Comment

Your email address will not be published. Required fields are marked with *

Recently on Ink 19...

  • Barnes & Barnes
    Barnes & Barnes

    Pancake Dream (Demented Punk Records). Review by Carl F. Gauze.

  • Jeremiah Lockwood
    Jeremiah Lockwood

    A Great Miracle: Jeremiah Lockwood’s Guitar Soli Chanukah Album (Reboot). Review by Bob Pomeroy.

  • Metallica: The $24.95 Book
    Metallica: The $24.95 Book

    From an underground band that pioneered the thrash metal sound, to arguably the biggest rock act in the new millennium, Metallica has had a long and tumultuous history. Ben Apatoff scours a myriad of sources to catalog this history in his new book.

  • Araceli Lemos
    Araceli Lemos

    Shortly after AFI Fest 2021 wrapped, Generoso spoke at length with director, Araceli Lemos about her award-winning and potent feature debut, Holy Emy. Lemos’s film uses elements of body horror in her story about the exoticization of two Filipina sisters living in Greece and how that exploitation creates a distance between them.

  • Southern Accents 55
    Southern Accents 55

    A woofin’ good time with cuts from Hank Williams, Muddy Waters, Delta Moon and more from KMRD 96.9, Madrid, New Mexico!

  • Rosencrantz and Guildenstern are Dead
    Rosencrantz and Guildenstern are Dead

    Absurdism with a healthy dose of air conditioning.

  • Mixtape 172 :: My Old Bassist
    Mixtape 172 :: My Old Bassist

    Like pre-teens throwing every liquid into the kitchen blender and daring each other to drink the results, Woody and Jeremy fuse all manner of sounds legitimate and profane into some murky concoction that tastes surprisingly good.

  • Demons/Demons 2
    Demons/Demons 2

    Synapse Films reissues Lamberto Bava’s epic ’80s gore-filled movies Demons and Demons 2 in beautiful new editions.

  • Sylvie Courvoisier and Mary Halvorson
    Sylvie Courvoisier and Mary Halvorson

    Searching for the Disappearing Hour (Pyroclastic Records). Review by Bob Pomeroy.

  • Payal Kapadia
    Payal Kapadia

    Earlier this year, director Payal Kapadia was awarded the Oeil d’or (Golden Eye) for best documentary at the 74th Cannes Film Festival for her debut feature, A Night of Knowing Nothing. Lily and Generoso interviewed Kapadia about her poignant film, which employs a hybrid-fiction technique to provide a personal view of the student protests that engulfed Indian colleges and universities during the previous decade.

From the Archives