Snailbones is an alt-rock/post-punk band with heaps of character. From the opening moments of Erroneous Harmonious, I was transported back to the ’90s and early ’00s. And I don’t mean that in the sense that Snailbones seems derivative — I mean that they’ve captured the essence of rock music from a bygone era. A style of rock that I sorely miss in the mainstream world of music, but it’s a relief to know that this raw, passionate form of rock is still alive in the underground scene. “Less I Know” is driven by grunge-y guitars and emotive vocals that feel vaguely reminiscent of Cobain’s singing style. I’m particularly addicted to the loud-quiet dynamic on this track. I mention this in lots of my interviews — there’s something incredibly pleasing about a song that ebbs and flows. The visceral bass guitar in the verses is amplified by electrifying power chords in the choruses. It just makes those choral vocal hooks feel all the more powerful in contrast to the gentle (relatively speaking), growing verses. This is a powerful opener to the record.
Bassist Kelly Minton takes the forefront on the second track, “787876,” but vocally, not in terms of her bass playing. I love this sudden transition into a brand new sound. Instrumentally, Francis‘ meaty guitar is still there, as is Owens’ ferocious drumming, but Minton’s vocals add a brand new dimension to Snailbones‘ music. To switch up the aesthetic so unexpectedly is a bold move, and it really pays off here. There’s also a brutal, beautiful guitar solo in the latter half of the track. Absolutely chaotic. Wonderful. “Elliott” takes a different approach yet again. Bouncy drums and a jovial power chord progression underpin screeching vocals which, whilst still completely grunge/post-rock, carry an upbeat sense of whimsy. The melody is joyous, but the aesthetic of the band remains just as punchy and bonkers as ever. Yet more proof that they can traverse many different styles of songwriting. I absolutely love the “don’t you go” refrain in the quieter segment of the track. It transitions brilliantly into the aggressive breakdown of screaming vocals, crashing drums, a rapid bass groove, and scorching guitar. This is one of my favorite songs on the album.
“Leave the Scene” is driven by a catchy power chord progression, tight drumming, and polished vocals. Beneath the chaos of this enigmatic band, it’s clear that the songs have strong melodic cores, but that really reveals itself on gentler songs such as this one. And, as always, there’s a fantastic climax to this track. It builds into a crescendo of guitars, bass, drumming, and screaming, once again. I love that every single track delivers on a huge ending. And then there’s “Outro.” Fantastic bass guitar from Minton on this one. What a groove. And those lead guitar bends from Francis? Wow. This is a powerful way to close the album.
Whatever approach they take, Snailbones consistently produces top-notch songs on this album. They’re bursting with energy and earworm melodies. I really hope they find success, even in an industry that isn’t as rock-centric as it used to be. They deserve to find an audience with quality tunes like these.
