I’m a believer that each decade’s polarizing musical phenomena are direct results of their overarching vibes. That may sound like an idle description, but what is music if not an assemblage of parts designed to create a given vibe? These vibes, however, only exist because of preceding ones. For example, the spiritual augmentation of the ‘60s couldn’t have emerged if not for the rebellious 12-bar blues of the ‘50s; the 2000s’ internet-underscored blend of lo-fi and lavish sounds wouldn’t exist without the technological revolution of the ‘80s.
In the 2020s’ age of digital maximalism, mainstream pop can be just as polarizing as experimental trap. Only now can ultra-bombastic noise fuse with nearly anything that’s come before. In short, we reside in an artistic time where the rebelliousness of the ‘50s has, once again, come full circle.
Sure, a band like Snõõper would’ve made tsunamis if they existed during the hardcore punk movement of the ‘80s, but the hyperpop nasality of their vocals, chronically online humor in their lyrics, and crunchy DIY distortion in their production point toward the garage-punk group’s intrinsic now-ness. They’re uniquely fun, even if what makes their sound current is not unique to them.
Snõõper is an egg-punk outfit led by vocalist Blair Tramel and backed by five instrumentalists, who together formulate the band’s charismatic mayhem. They burst onto the American punk scene in 2020, releasing their debut album “Super Snõõper” in 2023. At just 23 minutes, the record packed in every eccentric idea imaginable. It was nowhere near a perfect project, but it overflowed with personality.
Two years later – following tours marked by papier-mâché mascots and the band’s signature unseriousness – Snõõper returned with “Worldwide,” a sophomore LP only 5 minutes longer than its predecessor. The takeaway? “Worldwide” is “Super Snõõper’s” brattier, more obnoxious cousin, who, for whatever strange reason, you can’t resist hanging out with.
The album brims with propulsive riffs and sticky melodies that jumble your mind in their kinetic madness. Not a second is wasted, with only 2 of its 12 tracks breaching the 3-minute mark. Every aspect of the debut that hinted towards the band’s singularity is fine-tuned and expanded upon through “Worldwide’s” brevity. The ideas are wilder, the production pulls from a wider palette, and the lyrics – while still tongue-in-cheek – reflect more honesty than anything a 23-minute debut can accomplish. As a sophomore effort, “Worldwide” benefits from reflection, wrestling with what worked and what didn’t in their earlier material. I’d argue that effort pays off.
There’s the catchy ferocity of songs like “Opt Out” and “Pom Pom,” which see the band writing more defiant tunes, while songs like “Guard Dog” and “Blockhead” uncover genuine moments of introspection amid Snõõper’s trademark absurdity. And then there’s the record’s most unexpected highlight, “Come Together,” which not only is the most raucous Beatles cover I’ve ever heard, but is arguably the most defining song on the album.
But let me clarify – “Worldwide” isn’t monumental. The album strives for a modicum of depth, but it’s still a sub-30-minute scuzzfest that prioritizes goofiness above all else. To enjoy Snõõper, you have to know you’re listening to Snõõper — like being amused by the wackiness of a child, while fully aware that innocence won’t last forever.
Maybe for them it will, but numerous bands in a similar camp have watched themselves fizzle out once their initial allure turned out to be all there was. If Snõõper’s goal is simply to bombard the indie scene with sharp, punchy punk songs, that’s perfectly fine – as long as they keep writing good ones. On a “Worldwide” level, though, it seems like they’re hinting at more.
So, is Snõõper’s “Worldwide” a groundbreaking album? Not in the slightest. But it’s uproariously fun, packed with character, and performed so vivaciously that its near-mechanized energy would’ve knocked a pilgrim off Plymouth Rock. “Worldwide” is a reflection of modern absurdity itself. It may not be too much more than what its outrageous surface conveys, but it’s undeniably what we all need right now.
Alex’s album rating: 7.5/10
