First listen: hot snake, ‘Jericho alarm’

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First listen: hot snake, ‘Jericho alarm’
Since the turn of the century, punk, but have you defined the word, have you experienced the crisis of cultural resettlement, is it fair? With the integration of poptimism, music for the strange music can get rid of the original guitar and caterwauls, and fold their sensitivity into a form that was in harmony with the mainstream radio. (see SOPHIE, or SoundCloud rapper’s pessimistic position.) But the use of punk as a self-protection talisman to ward off a cripple is always a gesture in many ways, right? So what you leave behind is always something: the voice of resistance.
In recent 14 years of the first album, whole Hot Snakes – singer and guitarist Rick Froberg, guitarist John Reis, the drummer Jason Kourkounis and bassist Gar Wood Mario Rubalcaba, piled up 10 songs in the arm, leg, bending and bruises.
Hot snake, Jericho alarm.
The Jericho siren will be released on March 16 through Sub Pop.
In the previous three recordings, the band was willing to play with constant release, tension and construction – look at songs like “suicide invoice” or “love bird”. Those days are over. The Jericho siren is a perforated wall. In the opening bars and between “I need a doctor” doom and record closing (the collapse of “the death of the athlete” – from an era of Suicide, nihilism “ghost rider” and the song of the four notes spine) the voice of the life not to itch your acne. Forever. Don’t let me – as John Reis puts it: “I always have to make my head full of noise – especially the noise I make.”
The roots of Reis and Froberg in post-rock and post-hardcore – yes, the differences between these styles are unbearable – they can be traced back to their early bands, like Jehu. And it’s Rocket From The Crypt, which John Reis has been walking through since 1990 without Froberg. Hot Snakes are associated with these genetics as well as Recess Records – Swing Ding Amigos in particular – and Denton, Marked Men and radioactivity in the Texas scene. But maybe they resent the comparison. Hot snakes, literally, go deeper; Their rhythm section and low-end part are the best part of punk’s production since it was first introduced in 2000.
Part of the appeal here, especially for the punk band, is that Froberg’s lyrics are, for the most part, unintelligible; They are a spatter of expressionism, a fragment of philosophical rage, through the relentless, bubbling canvas of the band. They have accepted a minute: body perfect lament “thinking” carbohydrate and depression estimated invoice “suicide” is a Hot production in the middle of the Snakes example (and two of them are easier to understand their whole directory). Froberg’s voice carries his new image – “I need a new/dead DORA” and “you know I breastfeed on the scaffolding, baby” – high and serrated; It sounds crazy, of course. Participation, maybe. But the vast majority. Especially one line, the end of “candid camera,”
Maybe that’s it – maybe that’s where punk is, and it’s always transcended. And fast. And loudly. We’ll see.

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