*The following review was written for an L.A. based digital magazine*
A Product of the Environment
Despite releasing a few extended plays at the turn of the new year, New Jersey-based Super Snake has been rather dormant for the past four years. Their most recent release Leap of Love is a speedy twelve track which clocks in just over an hour. Alongside Dillinger Escape Plan’s Kevin Antreassian, Super Snake taped their newest album within the confines of some backwoods Virginia log cabin. Even with the intentionally bucolic environment, the album is tuned and crisp. It would appear that the band’s absence from the studio has allowed them to fine-tune their production setting. And, for that matter, create an ambiance that fits justly with their intense material.
Unhinged lyrics and an established section of lengthy rifts fluctuate nicely throughout the entirety of the band’s second release. Listen carefully as savage instrumentals weave sadistically across the walls of the cabin. With an even closer look will discover Jerry Jones’ twisted menace speaking haunted idioms. Amidst all the raucous created by Jones’ lyrics, there is an interesting cadence between tracks. While at times righteously vigorous, the myriad of haunt takes a back seat to a more confound production of rock in solace.
Similarly, the album presents itself as a catalyst of garage rock and fans of Sabbath will be pleased with the band’s adherence to tumultuous energy. The grim grooves concocted in Leap of Love plays a tune brazed with grunge rock and a handful of psychedelia. Amongst dark tones mixed amidst hints of modern horror, Super Snake appears to have lit a new candle in their budding quest to crack deeper into the confines of garage rock.
Grounded in grunge and sprinkled with doom, Super Snake’s cabin infused record could allow for the band to continue experimenting in future musical endeavors should they hold onto the momentum created by Leap of Love’s release. In today’s world, and much like the world of former rock bands, Leap of Love proves you don’t need a studio to make an album. Just a few instruments, someone with the production know-how and the right atmosphere will do just fine. But as more and more hopefuls grab hold of re-wired instruments and half beaten sound systems, the prospect of someone overtaking Jersey’s Super Snake with a more adherent commitment to production is a possibility. Ideally, another lengthy hiatus is not part of the plan.