(May 2010) Recorded over 2008/2009 in Melbourne, Berlin and Prague, Snog’s Last of the Great Romantics presents a truly unique blend of Electro punk/pop, with added hints space rock and gentle ballad.
The album is layered up with a vast expanse of electronic texture, as well as some notable guitar work, carefully mixed in to compliment the rich synths. Nothing is overlooked on this album, which even manages to reach the dizzy heights of pure angelic brightness. Although the vocals in some instances touch on the grating, they also dash crazily between the soothing and the outstanding.
“Were all in this together” sets the theme with its space rock styled
excursion, although punchier bass would launch this track further into the atmosphere. A great burst of lead guitar bestows a pleading personality, expressive notes screaming for help while spaceship blips add to the ambience.
The evenly placed beats which form “The End of the World” revolve around a bed of ambient sounds which introduce the track. The deep husky vocals contrast alongside additional layers of sound, expanding the track beautifully.
The almost funk like intro of “Wargasm” is integrated nicely with its 1980’s styled electronic build up before it explodes into life, the highs arrive in rich bursts of understated beats and statement like guitars.
“Sleepwalk” offers a suitably dark intro, a digression through the deepest darkest depths of the mind before a complete contrast as it turns angelic; virtual great white lights are generated by the rich choral backing plus a crescendo to follow. Onwards through a turbulent wind tunnel of extravagant rock the appropriately titled “Big Black Hole” is almost alien like; the monstrous styled vocal may be an acquired taste for some, but nonetheless its theatrical take on space rock is also an attractive one. It’s a colorful wheel of synth, guitars and bleeps, climaxing with more choral accompaniment.
“This world” succeeds in exhibiting the most effective combination of just two notes slightly marred by the ultra low, almost whisper styled vocal. Superb underlying melody; this track is a huge canvas on which to paint and dwell on, with sounds and samples that build into a creation that’s as catchy as you could want. A hit of techno sample comes in mid way accompanied by experimental guitars; it’s a time traveling adventure, with a hint of paranoia managing to sneak in before disappearing rapidly. Yet again, the backing choir like vocals enabling this track to expand elaborately.
Enter a more timid vocal with “Cosmic Caveman.” There’s a psychedelic styled guitar solo with backing that reaches and stretches, while the track also gives a brief nod to the likes of The Beloved. The track skips along in a relaxed manner before speeding into a catchy chorus and guitar sprint.
Switching over to ballad is “A Man,” with rich acoustic guitar providing a
definition that was perhaps unexpected in this context. There’s a signature vibrant melody short, but extremely effective.
The dub beat of “The Fires” touches on techno in the briefest way. Its high pitched blips of accompanying melody make this the most commercial sounding track on this album; a definite clap-along which imposes lasting memory.
“Prisoner Song” has a tranquil setting. The piano progression is a common one, giving a sound that’s more pop before it switches to the robotic, giving birth to a new concept.
Last of the Great Romantics is a fully loaded collection of unconventional arrangements, built on blending pop ballads with strong melodic hooks. An album that’s guaranteed to keep one looking for the next unexpected diversion into electronic wilderness, with its experimental assessable and a futuristic presentation of tongue in cheek anti-capitalist sentiment.
The Last of the Great Romantics is out now on Hymen. [Listen | Purchase]
