A thrilling debut album from Naarm-based band Snailgun, Glass Walls masterfully balances melodic post-punk with chaotic noise rock. The album navigates diverse sonic territories, from the stylish saxophone infusion on “Labyrinth” to the punk urgency within “Straight Ahead” and the excellent guitar intensity on finale “Screamy Cat.” Driven by resonating guitars and a prominent rhythm section, the record is consistent in its excellent songwriting and satiating structural evolutions.
An invigorating rock sound kickstarts the album with “SD,” where quivering vocal emotions meld with booming bass and whirring guitar ardor. The delectably raucous noise-rock appeal emanates throughout, ceaseless in its intensity as the three-minute turn approaches; the murkier post-punk allure there is lovely, in its smooth bass gliding and psych-friendly guitar effects. The band’s capacity for both moodier inclinations and full-throttle energy is evident on this thrilling opener. “Labyrinth” further embraces that post-punk element. “I’m building my labyrinth,” debonair vocals let out, as the bustling bass work swells into twanging guitars. “You won’t get laughing, when you get caught in the labyrinth,” the vocal foreboding continues, launching thereafter into a fantastically soaring saxophone presence.
A shout-y, punk-ready urgency then unveils on “Straight Ahead,” with brisk bass movements, raucous vocals, and squealing guitar fervency. While not strutting moments of tonal variety like other tracks, it serves as a refreshing blast of energy between the moody “Labyrinth” and stylish goth-rock success “Shadow Operator,” where a haunting title-bearing refrain coexists with jangly guitar ascensions. Snailgun’s ability to shift between bass-forward warmness and expansive guitar work continues to showcase here, as well. The two-part “Midway I” and “Midway II” ensue and also impress, the former commencing with stop-start doses of blaring guitar momentum amidst rollicking bass entrancement. Heavier, steadier touches of guitar continue, as the second part unleashes a dynamic vocal presence, between punk-forward raucousness and melodic anthems.
Another gem arrives in “It’s Called Fear.” A ghostly guitar clanging crafts an artfully climactic appeal, traversing into hazier guitar riffs and soulful bass reflections. The vocals here remind fondly of Interpol initially, with a suave vocal inflection alongside the sweltering post-punk bass and energized guitars. “It’s called fear!” they then launch into a further vigor, maneuvering seamlessly between these compelling vocal deliveries. Album finale “Screamy Cat” then arrives, alluring with a heady rock sound that sounds like a cross of The Jam’s bass-heavy rock attitude and Gang of Four’s post-punk dynamics. Its epic sprawl is especially resonant in its free-flowing guitar work. Glass Walls is abundant in high-quality songwriting and rock productions, marking a thorough success from Snailgun.
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