The self-titled debut from Snocaps arrives not merely as a surprise release but as a profound cultural collision, reuniting the creative spirits of Katie and Allison Crutchfield for the first time since their work in P.S. Eliot. Flanked by the guitar work of MJ Lenderman and the seasoned production instincts of Brad Cook, the sisters have bypassed the pressure of expectation to deliver a record that feels like a shared breath. The project effectively bridges three distinct musical lineages, anchored by Cook’s role as the primary architect of the modern Waxahatchee sound and Lenderman’s rising influence as a purveyor of ragged, indie-rock grit. Together, they have produced an artifact that manages to feel both monumental and as intimate as a conversation in a kitchen at midnight.
The record opens with “Coast,” a track that immediately signals a departure from polished folk-leanings, opting instead for a salty, atmospheric texture. The sisters’ harmonies, instinctual and genetically intertwined, act as the emotional spine of the song, while Lenderman’s guitar lines weave through the arrangement with a nonchalant brilliance. This energy carries into “Heathcliff,” a piece suggesting a darker, more literary introspection, followed by the expansive desolation of “Wasteland.” Here, Cook’s influence is palpable; his ability to ground ethereal melodies with a rhythmic weight ensures that the track never drifts too far from its emotional core, a skill honed through his previous work on milestone albums like ‘Saint Cloud’ (Merge Records, 2020).
The middle section of the album showcases a startling versatility born from a spontaneous, week-long recording burst. “Brand New City” pulses with an urban restlessness, contrasting sharply with the claustrophobic, protective layers of “Hide.” One of the record’s most striking moments arrives with “Cherry Hard Candy,” a track that balances a sweet, melodic surface with a biting, bittersweet lyrical undercurrent. It serves as a paradigm of the band’s ability to hide complex anxieties within accessible structures. This leads into the crushing weight of “Avalanche” and the ominous, slow-burn tension of “Doom,” where the instrumental interplay between Lenderman and Cook creates a sense of impending collapse.
As the album nears its conclusion, it moves into more contemplative territory, reflecting the quartet’s shared professional and personal kinship. “Over Our Heads” and “Angel Wings” serve as spiritual bookends, exploring the vulnerability of adulthood and the weight of legacy. The defiant, punchy energy of “I Don’t Want To” provides a necessary jolt of friction before the heartbreaking intimacy of “You In Rehab.” The latter stands as a splendid example of narrative songwriting, utilizing the sisters’ combined vocal power to navigate a difficult, somatic landscape with immense grace. The journey comes full circle with “Coast II,” a reprise that feels less like a repetition and more like a hard-won resolution. Snocaps has produced a record that is far more than the sum of its parts; it is a living, breathing document of kinship and artistic evolution.
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