Review: Snakemother ‘Snakemother’ [Reissue]
Way back in 2023, an album emerged which, unless you were in the know, would have passed you by without you ever even being aware of its existence. It was a spiritually enlightening experience, the likes of which the world was unprepared for at the time.
Since then, the planet has gotten weirder and weirder, and we are now at a crossroads where only a truly magical occurrence is going to lift us from this global turmoil.
Thankfully, due to a higher power, this album of salvation is being reissued by Ripple Music and is here to rescue us with its gargantuan doomy heavy psych musings. Bare witness to the entity that is Snakermother.
Hailing from Oakland in California in the US, the band is made up of its own sacred four elements, those being Bianca Salinas on vocal and guitar, Colie Sutter assuming bass and vocal duties, Julia Arria providing all percussion, and Sammie Dee Wallinga making the group complete on lead guitars. Between themselves, they conjure up a sound so monumental, so mystical, and so primal that even the most hardened doom music fans will be caught somewhat unawares.
As for the self-titled album itself, it is a six-track goliath of an experience, and weighs in at just over thirty-five minutes, although it sure feels like a longer listening experience.
Opening with the otherworldly Ritual, a piece which is as understated as it is epic, we first experience the group ethereally chanting as an accordion provides the backdrop, before crashing in with a thunderous serge of guitar and drums. It drops back as the vocal re-enters, and it feels as claustrophobic as it does serene. The doom-laden instrumentation provides a truly eclectic backdrop to the ongoing chanting throughout, and as the full extent of the band’s majesty unfolds, what ensues is nothing short of a spellbinding experience.
Even from this initial encounter, it’s clear what is on offer is something unlike anything else that’s out there on the musical landscape currently. Usually at this point, I would offer up a comparison sound wise so that you may be able to gauge what the band are akin to, but I’m lost for anyone at all. It’s a little bit like a handful of other bands, but not enough to risk my career on, but if the likes of Faetooth and Haurun float your boat, then you should be well at home with Snakemother.
its dark, imposing vibe really gives an air of anxious discomfort…
As Sacrum begins, it’s a punishing listen right from the get-go. Hard, abrasive, and pummelling, the true force of the band can be felt. As it opens out, it deviates into a more abstractly spiritual experience, and as it blossoms, the culmination of the lighter and the dark becomes entwined to give a lush and dark texture. By its climax, this ebb and flow can not only be heard but can also be felt.
Circles starts in a more pensive manner, somewhat creepy, dark and menacing. It has an air of mystery to it, which until now hasn’t been fully realised. However, this doesn’t last long, and within the final seconds of the first minute, it has morphed into an altogether heavier beast indeed. Fluctuating between these two extremes, you can’t help but be enticed in, and as the drudge of the heavier, doomier parts take precedence, the inescapable brilliance of the band can be heard clearly. It really is a highlight for the whole album, and a favourite moment of mine for sure.
With Gold Shields the band instantly draw on their phenomenal use of the play between harsh and vibrant, whereas elsewhere there’s a real sense of the shifts, here it is subtler. It’s as if two tracks are playing parallel to each other, they work in unison but feel somewhat disjointed. It’s darkly spiritual and is the stuff nightmares are made of.
The penultimate track Mu Rise pulls things back to a slower, darker experience, and by the time its fully realised, it has become a mystical conundrum. Both doomy and grungy, without ever fully leaning into either camp, its dark, imposing vibe really gives an air of anxious discomfort.
Little Lady closes the show, all guns blazing, with one final hurrah. It has a driving feel, and as it plays through, it comes across more like being dragged along than it does holding off at any point. There is a pause for respite, as the first verse swaggers in, but this is short-lived, and as things progress, it returns to a full velocity onslaught. Finishing with one final flourish, as it dissipates into nothing, all that’s left are the memories of a truly wonderful experience.
As I missed this the first time around, I’ve been fortunate to hear it on its second coming, and if you like a bit of mystical doom, then this will be right up your alley for sure. Take the chance, and go explore.
Label: Ripple Music
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Lee Beamish
