Tag: Hot Snakes

New Video: Oakland’s Strangelight Releases a Pummeling New Ripper

Strangelight — Nat Coghlan (vocals, guitar), Tony Teixeira (guitar, vocals), Ian Miller (bass) and Julia Lancer (drums) — is a Bay Area-based punk All-Star band featuring members of Transistor Transistor, Kowloon Walled City and a slew of other notable local bands.

And although the band is relatively new, the band’s origins can trace its origins back to the early ’00s: New Hampshire-born Nat Coghlan met The New Trust’s Julia Lancer while touring California in the early ’00s and the duo bashed out a handful of demos together. About fifteen years later, they reconnected in Oakland, unearthed those early demos and recruited their friends Tony Teixeira, who has played with Swingin’ Utters, Cobra Skulls and Western Addiction — and Ian Miller, who has played with Kowloon Walled City and Less Art to flesh out the demos.

The end result is the quartet’s full-length debut Adult Themes, which was recorded in three days at Shark Bite Srudios by Kowloon Walled City’s Scott Evans, the week that the local and national governments began locking things down as a result of the COVID-19 pandemic. Continuing in the reputation of the individual band member’s previous work, Adult Themes’ 10 songs rage — and rage hard; but with the world-weariness, disappointment and discontent of 40 somethings, who have had lengthy careers. “The album is called Adult Themes because the lyrics deal with the monotonous aspects of life as an adult,” Coghlan says in press notes. ” “I don’t pretend to have any great insight into the human condition. There are songs about mortgages, there are songs about retirement plans. And since it was all written and recorded before the pandemic, it’s kind of a weird snapshot of life as it was, for better or worse.”

Adult Theme’s first single “Walks into a Bar” is a furious and pummeling aural assault, centered around Coghlan’s howled vocals. fuzzy power chords, thunderous drumming and mosh pit friendly hooks, the song evokes the frustration of life — whether personal or professional — at a standstill. In some way, it shouldn’t be surprising that “Walks into a Bar” sonically brings JOVM mainstays Hot Snakes to mind. “I distinctly remember being in high school, driving to band practice, and hearing Hot Snakes’ Automatic Midnight for the first time,” Nat Coghlan recalls in press notes. “I was floored. In some way or another, I’ve been doing my best approximation of Hot Snakes and Rocket from the Crypt ever since.”

The recently released video for “Walks into a Bar’ features artwork by the band’s Tony Teixiera.

New Video: Hot Snakes Release a Hilarious and Hallucinogenic Visual for Anthemic “Not in Time”

Over the past couple of years, I’ve managed to spill quite a bit of virtual ink covering the acclaimed — and downright legendary — punk act Hot Snakes. Continuing upon the momentum of 2018’s Jericho Sirens, the band released the “Checkmate”/”Not in Time” 7 inch late last year as the first of a series of four 7 inch singles released to lead up to the JOVM mainstay act’s highly-awaited fifth album.

The physical copies of “Checkmate”/”Not in Time” were sold only at shows during their UK tour to close out 2019 — and as you may recall, Sub Pop released, the sleazy AC/DC-like “Checkmate,” digitally through all DSPs. And until — well, today, the B-side “Not In Time” was unavailable anywhere else. “Not in Time” is essentially classic Hot Snakes: rousingly anthemic and euphoric hooks, pummeling guitar riffs, thunderous drumming and howled vocals. Goddamn it, I miss loud rock shows and sweaty mosh pits — because this one is a mosh pit anthem.

“Not in Time” will be available on Hot Snakes’ Bandcamp page tomorrow at Pay-Whatever-the-Hell-You-Want pricing for Friday only, as part of Bandcamp’s ongoing monthly fundraisers to generate funds for artists unable to tour as a result of the pandemic.

Directed by Jessica Kourkounis (Jason Kourkounis’ sister), the recently released video is a hilarious and hallucinogenic visual that follows a crew of skateboarders, who during an afternoon of wholesome shredding take tabs of Hot Snakes-branded acid and suddenly strange things happen — mainly, they see their arms elongate as they continue skating.
“This video started with a basic idea I had, which was, wouldn’t it be funny to see a bunch of skater dudes try and shred with extra-long arms” Jessica Kourkounis explains. “I have a bit of an obsession with homemade-looking costumes. So I hit up my friend Brian Emig to see if he would help me find the guys and film them. The rest happened pretty organically. We just went out and did it mostly. I also wanted to somehow include a visual of the band so I asked Rick to draw their heads so I could print them on blotter paper to help move the story forward. To great relief, it all worked out.”

New Audio: JOVM Mainstay Hot Snakes Releases a Defiant Anti-Work Anthem

Over the past couple of years, I’ve written quite about the acclaimed — and downright legendary — punk act Hot Snakes, and as you may recall the act can trace its origins to when its then-San Diego, CA-based founder Swami John Reis founded the band in 1999: that year, Reis’ primary gig Rocket from the Crypt went on hiatus after longtime drummer Atom Willard left the band. Coincidentally, the band was also in between labels. And as the story goes, while searching for a new label and drummer for Rocket from the Crypt, Reis started his own label Swami Records and began experimenting with other musicians, which eventually led to the formation of two acclaimed side projects — Sultans and Hot Snakes. 

Interestingly, Hot Snakes began in earnest when Reis recorded a batch of material with Delta 72′s Jason Kourkounis. Reis then recruited his former Pitchfork and Drive Like Jehu bandmate and collaborator Rick Froberg to contribute vocals. Most of the material that they recorded wound up comprising their full-length debut Automatic Midnight. Although Reis and Froberg had collaborated together for years, Hot Snakes proved to be a logical challenge: Reis was in San Diego, Froberg had relocated in New York to start a career as a visual artist and illustrator, and Kourkounis was based in Philadelphia. As a result, the members of the band had sporadic and intense recording and touring schedules, which featured Beehive and the Barracudas’, Tanner’s and Fishwife’s Gar Wood on bass. 

And while Hot Snakes’ sonically and aesthetically bears some similarities to Reis’ and Froberg’s previous work, the band’s sound leaned towards a more primal, garage rock sound, influenced by Wipers, Suicide, and Michael Yonkers Band. Along with that, the band developed a now, long-held reputation for a completely DIY approach to recording, touring and merchandise — with the band releasing their earliest material through Reis’ Swami Records. (Unsurprisingly, Hot Snakes’ debut Automatic Midnight was the first release through Reis’ label.)

After the release of 2002’s Suicide Invoice and 2004’s Audit in Progress, the band split up in 2005. In 2011, they reunited for a world tour, which eventually set the stage for the band’s fourth album, 2018’s Jericho Sirens, which was coincidentally, their first album in over 14 years. Recorded in short bursts in San Diego and Philadelphia during 2017 and features Reis and Froberg collaborating with Wood and drummers Kourkounis and Rubalcaba — both of whom have been on prior Hot Snakes albums but never on the same one until now. And as Reis explained in press notes for the album, one of the most rewarding aspects was continuing his  collaboration and creative partnership with Froberg. “Our perspectives are similar. Our tastes are similar. He is my family. And what more is there to say? My favorite part of making this record was hearing him find his voice and direction for this record. I came hard,” Reis says.

Thematically, Jericho Sirens’ material commiserates with the frustration and apathy of our daily lives while pointing out that generally we haven’t had a fucking clue about anything. As the band’s Froberg said at the time, “Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that. No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.” Sonically, the album found the band incorporating some of the most extreme fringes of their sound while staying true to their long standing influences. including AC/DC.

Late last year, the band released “Checkmate,” a decidedly AC/DC-like track, centered around booze-soaked power chords, howled lyrics and a chugging yet forceful rhythm section. Interestingly, while being the first bit of new material from the band after the release of Jericho Sirens, the track was the first of a series of four 7 inch singles that will lead up to the band’s highly-awaited fifth album; so each single is a seasonal release. Hot Snakes begins 2020 with their Spring 7 inch installment, the defiant anti-work/anti-working for the man anthem “I Shall Be Free.” Centered around slashing, face-melting power chords and chugging rhythms, the track continues a run of decidedly AC/DC-like singles with a boozy air. 

The recently released video features some trippy, line animation by Swami John Reis’ 13-year-old son Tiger Reis that morphs into stick figures, tanks, rockets, a skeleton and even airplanes that move and undulating to the accompanying music. 

New Video: JOVM Mainstays Hot Snakes Return with a Sly Commentary on the Proliferation of Tech and Screens in Our Daily Lives

The acclaimed punk act Hot Snakes can trace its origins to when its then- San Diego, CA-based Swami John Reis founded the band back in 1999. That year Reis’ primary gig Rocket from the Crypt had gone on hiatus after their longtime Atom Willard left the band — and coincidentally the band was in between labels. As the story goes. while searching for a new label and drummer for Rocket from the Crypt, Reis founded his own label Swami Records and began experimenting with other musicians, which eventually resulted in the formation of two side projects — Sultans and Hot Snakes, which began in earnest when Reis recorded a batch of material with Delta 72′s Jason Kourkounis. Reis then recruited his former bandmate and collaborator Froberg to contribute vocals — with most of the material they recorded, eventually comprising their full-length debut Automatic Midnight.

Although Reis and Froberg collaborated together in Pitchfork and Drive Like Jehu, Hot Snakes proved to be a logistical challenge: Reis was in San Diego, Froberg had relocated in New York to start a career as a visual artist and illustrator, and Kourkounis was based in Philadelphia. This resulted in sporadic and intense recording and touring schedules that frequently included bassist Gar Wood, best known for his work in Beehive and the Barracudas, Tanner and Fishwife. And while Hot Snakes shares some obvious musical similarities to Reis’ and Froberg’s previous projects, their sound was more primal, garage rock-based one, influenced by Wipers, Suicide, and Michael Yonkers Band — and for a completely DIY approach to recording, touring and merchandise with the band releasing material through Reis’ Swami Records. (Unsurprisingly, Hot Snakes’ debut Automatic Midnight was the first release through Reis’ label.)

After releasing two more full-length albums, 2002’s Suicide Invoice and 2004’s Audit in Progress, the band split up in 2005. But in 2011, they reunited for a world tour, which reportedly set the stage fr the band’s fourth, full-length album, last year’s Jericho Sirens, which was coincidentally the band’s first album in over 14 years.

Recorded in short bursts over the past year in San Diego and Philadelphia, the album features Reis and Froberg collaborating with Wood and drummers Kourkounis and Mario Rubalcaba — both of whom have been on prior Hot Snakes albums but never on the same one until now. And as Reis explained in press notes for the album, one of the most rewarding aspects was continuing his  collaboration and creative partnership with Froberg. “Our perspectives are similar. Our tastes are similar. He is my family. And what more is there to say? My favorite part of making this record was hearing him find his voice and direction for this record. I came hard,” Reis says.

The material thematically commiserates with the frustration and apathy of our daily lives while pointing out that generally we haven’t had a fucking clue. As the band’s Froberg said at the time, “Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that. No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.” Sonically, the album reportedly finds the band incorporating some of the most extreme fringes of their sound while staying true to their long standing influences — but interestingly, some songs feature nods to AC/DC and others. As Reis says in press notes, “It sounds like panic and chaos. Restlessness and unease. That’s a sound that I would ask for. I want that record. The inspiration would be simple, maybe even kind of straightforward. Very early rock ‘n’ roll DNA with lots of rules. I would find some note or rhythm in it that captivated me and I dwelled on it and bent it. That’s where I found dissonance. Bending and rubbing against each other uncomfortably. Marinate and refine. A lot of the other Hot Snakes records always had tension and release, but this one is mainly just tension.”

Just before they were about to embark on a 12 dat UK and Ireland tour during December, the band released “Checkmate,” a blistering, AC/DC-like track centered around booze-soaked power chords, howled lyrics and a chugging yet forceful rhythm section. As the band’s Rick Froberg said in press notes, “‘Checkmate’ is big, fatty content freshly extruded from the Hot Snakes sausage machine. Same ingredients, new flav.” The single is available through all the digital service provides but it’ll also be available directly from the band as an extremely limited physical 7″ vinyl with the exclusive b-side “Not in Time.”

Co-directed by the band’s John Reis and the band’s longtime friend John Oliver, the recently released video follows digital representations of the band invading and infesting a house, making the video a sly and mischievous commentary on the proliferation of screens and digital content in our daily lives. (Essentially, you can’t take a leak without a screen popping up somewhere!) 

New Audio: Hot Snakes Return with a Classic Anthemic Ripper

The acclaimed punk act Hot Snakes can trace its origins to when its then- San Diego, CA-based Swami John Reis founded the band back in 1999. That year Reis’ primary gig Rocket from the Crypt had gone on hiatus after their longtime Atom Willard left the band — and coincidentally the band was in between labels. As the story goes. while searching for a new label and drummer for Rocket from the Crypt, Reis founded his own label Swami Records and began experimenting with other musicians, which eventually resulted in the formation of two side projects — Sultans and Hot Snakes, which began in earnest when Reis recorded a batch of material with Delta 72’s Jason Kourkounis. Reis then recruited his former bandmate and collaborator Froberg to contribute vocals — with most of the material they recorded, eventually comprising their full-length debut Automatic Midnight. 

Although Reis and Froberg collaborated together in Pitchfork and Drive Like Jehu, Hot Snakes proved to be a logistical challenge: Reis was in San Diego, Froberg had relocated in New York to start a career as a visual artist and illustrator, and Kourkounis was based in Philadelphia. This resulted in sporadic and intense recording and touring schedules that frequently included bassist Gar Wood, best known for his work in Beehive and the Barracudas, Tanner and Fishwife. And while Hot Snakes shares some obvious musical similarities to Reis’ and Froberg’s previous projects, their sound was more primal, garage rock-based one, influenced by Wipers, Suicide, and Michael Yonkers Band — and for a completely DIY approach to recording, touring and merchandise with the band releasing material through Reis’ Swami Records. (Unsurprisingly, Hot Snakes’ debut Automatic Midnight was the first release through Reis’ label.)

After releasing two more full-length albums, 2002’s Suicide Invoice and 2004’s Audit in Progress, the band split up in 2005. But in 2011, they reunited for a world tour, which reportedly set the stage fr the band’s fourth, full-length album, last year’s Jericho Sirens, which was coincidentally the band’s first album in over 14 years. 

Recorded in short bursts over the past year in San Diego and Philadelphia, the album features Reis and Froberg collaborating with Wood and drummers Kourkounis and Mario Rubalcaba — both of whom have been on prior Hot Snakes albums but never on the same one until now. And as Reis explained in press notes for the album, one of the most rewarding aspects was continuing his  collaboration and creative partnership with Froberg. “Our perspectives are similar. Our tastes are similar. He is my family. And what more is there to say? My favorite part of making this record was hearing him find his voice and direction for this record. I came hard,” Reis says.

The material thematically commiserates with the frustration and apathy of our daily lives while pointing out that generally we haven’t had a fucking clue. As the band’s Froberg said at the time, “Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that. No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.” Sonically, the album reportedly finds the band incorporating some of the most extreme fringes of their sound while staying true to their long standing influences — but interestingly, some songs feature nods to AC/DC and others. As Reis says in press notes, “It sounds like panic and chaos. Restlessness and unease. That’s a sound that I would ask for. I want that record. The inspiration would be simple, maybe even kind of straightforward. Very early rock ‘n’ roll DNA with lots of rules. I would find some note or rhythm in it that captivated me and I dwelled on it and bent it. That’s where I found dissonance. Bending and rubbing against each other uncomfortably. Marinate and refine. A lot of the other Hot Snakes records always had tension and release, but this one is mainly just tension.”

Just a few weeks before they head off to a 12 date UK and Ireland tour during the month of December, the band released a new single “Checkmate,” a blistering AC/DC-like track centered around booze-soaked power chords, howled lyrics and a chugging rhythm section. As the band’s Rick Froberg says in press notes, “‘Checkmate’ is big, fatty content freshly extruded from the Hot Snakes sausage machine. Same ingredients, new flav.” The single is available through all the digital service provides but it’ll also be available directly from the band as an extremely limited physical 7″ vinyl with the exclusive b-side “Not in Time.”

Live Footage: Hot Snakes Performing Material from Their First Album in 14 Years at The Troubadour on “Last Call with Carson Daly”

Over the past few months, I’ve written a bit about Hot Snakes, and as you may recall the band, which was led by its then-San Diego, CA-based founding duo of Swami John Reis and Rick Froberg formed in 1999 when Reis’ primary band Rocket from the Crypt went on hiatus after the departure of long-time drummer Atom Willard and when they were in between labels. And while searching for a new label and drummer, Reis started his own label Swami Records and began experimenting with other musicians, which resulted in the formation of Hot Snakes and Sultans. Hot Snakes in particular, can trace their origins to when Reis recorded a batch of material with Delta 72‘s Jason Kourkounis, and then contacted his former bandmate and collaborator Froberg to contribute vocals, and most of those recording sessions eventually comprised their full-length debut Automatic Midnight.

Although Reis and Froberg collaborated together in Pitchfork and Drive Like Jehu, Hot Snakes proved to be a logistical challenge as Reis was in San Diego, Froberg had relocated in New York to start a career as a visual artist and illustrator, and Kourkounis was based in Philadelphia. Naturally, this resulted in sporadic and intense recording and touring schedules that frequently included bassist Gar Wood, best known for his work in Beehive and the Barracudas, Tanner and Fishwife. And while Hot Snakes shares some musical similarities to Reis’ and Froberg’s previous projects, they developed a reputation for a much more primal, garage punk sound influenced by Wipers, Suicide, and Michael Yonkers Band — and for a completely DIY approach to recording, touring and merchandise with the band releasing material through Reis’ Swami Records. (Unsurprisingly, Hot Snakes’ debut Automatic Midnight was the first release through Reis’ label.)

After releasing two more full-length albums, 2002’s Suicide Invoice and 2004’s Audit in Progress, the band called it a day in 2005 but they reunited for a world tour in 2011 which reportedly set the stage for the band’s fourth, full-length album Jericho Sirens, the band’s first album in 14 years, which was released earlier this year through Sub Pop Records. Recored in short bursts over the past year in San Diego and Philadelphia, the album features Reis and Froberg collaborating with Wood and drummers Kourkounis and Mario Rubalcaba — both of whom have been on prior Hot Snakes albums but never on the same one until now. And as Reis explained in press notes for the album, one of the most rewarding aspects was continuing his  collaboration and creative partnership with Froberg. “Our perspectives are similar. Our tastes are similar. He is my family. And more is there to say? My favorite part of making this record was hearing him find his voice and direction for this record. I came hard,” Reis says.

Reportedly, the material thematically commiserates with the frustration and apathy of our daily lives while pointing out that generally we don’t have a fucking clue. As Froberg says of the album, “’Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that. No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.” Sonically, the album reportedly finds the band incorporating some of the most extreme fringes of their sound while staying true to their long standing influences — but interestingly, some songs feature nods to AC/DC and others. As Reis says in press notes, “It sounds like panic and chaos. Restlessness and unease. That’s a sound that I would ask for. I want that record. The inspiration would be simple, maybe even kind of straightforward. Very early rock ‘n’ roll DNA with lots of rules. I would find some note or rhythm in it that captivated me and I dwelled on it and bent it. That’s where I found dissonance. Bending and rubbing against each other uncomfortably. Marinate and refine. A lot of the other Hot Snakes records always had tension and release, but this one is mainly just tension.”

Recently, the member of Hot Snakes made their national, late night TV debut on Last Call with Carson Daly, which filmed the band performing three mosh pit friendly album singles — the anthemic and furious Curses-era Rye Coalition-like “Six Wave Hold-Down,” the blistering and “I Need a Doctor” and “Having Another?” And obviously, the live footage should be a ample taste of what to expect for the latest leg of the band’s tour that will include two NYC sets — a sold out June 4, 2018 stop at the Bowery Ballroom and a June 5, 2018 stop at Elsewhere.

New Audio: Hot Snakes Return with an Anthemic Mosh Pit Worthy Track from First Album in 14 Years

Led by its then-San Diego, CA-based founding duo of Swami John Reis and Rick Froberg, Hot Snakes formed in 1999 as a side project, when Reis’ primary band Rocket from the Crypt went on hiatus after the departure of long-time drummer Atom Willard — and being in between labels. While searching for a new label and drummer, Reis started his own label Swami Records and began experimenting with other musicians, which resulted in the formation of Hot Snakes and Sultans. Interestingly, Hot Snakes can trace their origins to when Reis recorded a batch of material with Delta 72‘s Jason Kourkounis, and then contacted his former bandmate and collaborator Froberg to contribute vocals, and most of those recording sessions eventually comprised their full-length debut Automatic Midnight.

Although Reis and Froberg collaborated together in Pitchfork and Drive Like Jehu, Hot Snakes proved to be a logistical challenge as Reis was in San Diego, Froberg had relocated in New York to start a career as a visual artist and illustrator, and Kourkounis was based in Philadelphia. Naturally, this resulted in sporadic and intense recording and touring schedules that frequently included bassist Gar Wood, best known for his work in Beehive and the Barracudas, Tanner and Fishwife. And while Hot Snakes shares some musical similarities to Reis’ and Froberg’s previous projects, they developed a reputation for a much more primal, garage punk sound influenced by Wipers, Suicide, and Michael Yonkers Band — and for a completely DIY approach to recording, touring and merchandise with the band releasing material through Reis’ Swami Records. (Unsurprisingly, Hot Snakes’ debut Automatic Midnight was the first release through Reis’ label.)

After releasing two more full-length albums, 2002’s Suicide Invoice and 2004’s Audit in Progress, the band called it a day in 2005 but they reunited for a world tour in 2011 which reportedly set the stage for the band’s fourth, full-length album Jericho Sirens, the band’s first album in 14 years, slated for a March 16, 2018 release through Sub Pop Records. Recored in short bursts over the past year in San Diego and Philadelphia, the album features Reis and Froberg collaborating with Wood and drummers Kourkounis and Mario Rubalcaba — both of whom have been on prior Hot Snakes albums but never on the same one until now. And as Reis explained in press notes for the album, one of the most rewarding aspects was continuing his  collaboration and creative partnership with Froberg. “Our perspectives are similar. Our tastes are similar. He is my family. And more is there to say? My favorite part of making this record was hearing him find his voice and direction for this record. I came hard,” Reis says.

Reportedly, the material thematically commiserates with the frustration and apathy of our daily lives while pointing out that generally we don’t have a fucking clue. As Froberg says of the album, ““Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that. No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.”

Sonically, the album reportedly finds the band incorporating some of the most extreme fringes of their sound while staying true to their long standing influences — but interestingly, with some songs feature nods to AC/DC and others. As Reis says in press notes, “It sounds like panic and chaos. Restlessness and unease. That’s a sound that I would ask for. I want that record. The inspiration would be simple, maybe even kind of straightforward. Very early rock ‘n’ roll DNA with lots of rules. I would find some note or rhythm in it that captivated me and I dwelled on it and bent it. That’s where I found dissonance. Bending and rubbing against each other uncomfortably. Marinate and refine. A lot of the other Hot Snakes records always had tension and release, but this one is mainly just tension.”

You might remember that last month I wrote about the Curses-era Rye Coalition-like album single “Six Wave Hold-Down,” a single that possessed a furious piss, vinegar, vitriol and whiskey-fueled punk air with rousingly anthemic, raise your beer in the air hooks and a frenzied urgency. Unsurprisingly, the album’s latest single “Death Camp Fantasy” possesses the same frenzied urgency, centered around a swaggering, muscular and insistent riff, howled vocals, propulsive drumming, and shout worthy, mosh pit-friendly hooks; but underneath the swaggering, whiskey and piss fueled storm is a sentiment reminiscent of Soundgarden’s “Blow Up The Outside World” — a sick of this bullshit, let’s blow it all the fuck up and start over vibe. 

Along with the release of their newest album, the band’s entire back catalog will be re-issued and to celebrate that, the band will be touring to support it. You can check out the first batch of tour dates, below. Interestingly, as the band’s Gar Wood notes, the band has finished writing and recording two more albums, and Jericho Sirens will give fans and listeners a chance to catch up to the new recordings.

New Audio: Hot Snakes Release an Anthemic Piss and Vinegar-Fueled Single off First Full-Length Album in 14 Years

Led by its then-San Diego, CA-based founding duo of Swami John Reis and Rick Froberg, Hot Snakes formed in 1999 as a side project, when Reis’ primary band Rocket from the Crypt went on hiatus after being in between labels and the departure of long-time drummer Atom Willard. While searching for a new label and drummer, Reis started his own label Swami Records and began experimenting with other musicians, which resulted in the formation of Hot Snakes and Sultans. Interestingly, Hot Snakes can trace their origins to when Reis recorded a batch of material with Delta 72’s Jason Kourkounis, and then contacted his former bandmate and collaborator Froberg to contribute vocals, and as it turns out most of those recording sessions eventually comprised their full-length debut Automatic Midnight.

Although Reis and Froberg collaborated together in Pitchfork and Drive Like Jehu, Hot Snakes proved to be a logistical challenge as Reis was in San Diego, Froberg had relocated in New York to start a career as a visual artist and illustrator, and Kourkounis was based in Philadelphia. Naturally, this resulted in sporadic and intense recording and touring schedules that frequently included bassist Gar Wood, best known for his work in Beehive and the Barracudas, Tanner and Fishwife. While Hot Snakes shares some musical similarities to Reis’ and Froberg’s previous projects, they developed a reputation for a much more primal, garage punk sound influenced by Wipers, Suicide, and Michael Yonkers Band — and for a completely DIY approach to recording, touring and merchandise with the band releasing material through Reis’ Swami Records. In fact, Hot Snakes’ debut Automatic Midnight was the first release through Reis’ label. 

After releasing two more full-length albums, 2002’s Suicide Invoice and 2004’s Audit in Progress, the band called it a day in 2005 but they reunited for a world tour in 2011 which reportedly set the stage for the band’s fourth, full-length album Jericho Sirens, the band’s first album in 14 years, which is slated for a March 16, 2018 release through Sub Pop Records. Recored in short bursts over the past year in San Diego and Philadelphia, the album features Reis and Froberg collaborating with Wood and drummers Kourkounis and Mario Rubalcaba — both of whom have been on prior Hot Snakes albums but never on the same one until now. And as Reis explained in press notes for the album, one of the most rewarding aspects was reacting his collaboration and creative partnership with Froberg. “Our perspectives are similar. Our tastes are similar. He is my family. And more is there to say? My favorite part of making this record was hearing him find his voice and direction for this record. I came hard,” Reis says. 

Reportedly, the material thematically commiserates with the frustration and apathy of our daily lives while pointing out that generally we don’t have a fucking clue. As Froberg says of the album, ““Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that. No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.”

Sonically, the album reportedly finds the band incorporating some of the most extreme fingers of their sound while staying true to their long standing influences — but interestingly, some songs feature nods to AC/DC and others. As Reis says in press notes, It sounds like panic and chaos. Restlessness and unease. That’s a sound that I would ask for. I want that record. The inspiration would be simple, maybe even kind of straightforward. Very early rock ‘n’ roll DNA with lots of rules. I would find some note or rhythm in it that captivated me and I dwelled on it and bent it. That’s where I found dissonance. Bending and rubbing against each other uncomfortably. Marinate and refine. A lot of the other Hot Snakes records always had tension and release, but this one is mainly just tension.”

Album single “Six Wave Hold-Down” while reminding me of Curses-era Rye Coalition, thanks to an furious piss, vinegar, vitriol and whiskey-fueled punk air, and anthemic raise your beer in the air hooks. But along with that the song possesses the sort of  urgency that’s absolutely necessary.