ALBUM REVIEW: Fractal Altar – Snail

Between 1992 and 1995, Washington’s SNAIL made a significant impact in the West Coast’s stoner rock scene, garnering praise from the likes of FU MANCHU and NEBULA, whilst spending a lot of time touring with SLEEP. However, the stereotypical lifestyle that comes with being in a rock band caught up with them and after they split with just one eponymous album to their name, it would be thirteen years before they reformed. Since then, they’ve been more prolific in their output, yet Friday sees their first album release since 2015’s Feral; entitled Fractal Altar, it comes courtesy of Argonauta Records.

There’s only one place to start with this record, and that’s the album artwork. Much less frequently commented on nowadays in a digital age, Fractal Altar might have both the brightest and trippiest cover of any album in 2021 – a vibrant clash of neon greens, blues, purples and pinks surrounding a figure outstretched a la Da Vinci’s Virtruvian Man, complete with light beams protruding from its eyes. It’s certainly eye catching and immediately tells you what this album is going to be like – thankfully, it’s not the strongest element here, because the music does that for you.

Eight tracks in just under forty minutes might not seem like a long time in terms of a traditional stoner album, but SNAIL have implemented a number of other influences that have allowed them to shorten their track lengths whilst keeping it heavy enough to please those who have been fans since the very beginning. Lead single Nothing Left For You will delight anyone who enjoys MASTODON, both in its steady build during the verses and driving chorus that’s delicately balanced between accessible and challenging.

Hold On is all about the SABBATH – the riff and stomp are indicative of the godfathers of metal, but the tempo and upbeat nature puts it more in line with the likes of Supernaut and Sabbra Cadabra than something like Iron Man. There’s also a hefty dose of Josh Homme’s most famous outfits – opening track Mission From God has hints of KYUSS with its big opening and dual vocals, whilst When The Tree Spoke is firmly in QUEENS OF THE STONE AGE territory.

On the subject of the latter song, it’s a lot more straightforward and catchy than the other more radio-friendly track here, Not Two, which suffers from not quite fitting the mould of its sister songs. The chorus is certainly gruffer and more distorted, but the verses are a little light to be of much interest to those who are firm lovers of the stoner scene; it’s not a bad song by any means, it’s just not to the same quality.

Draining White, on the other hand, is much more in line with the overall vibe of Fractal Altar, but doesn’t stand out due to a sense of being too formulaic. The title track, which closes the album, has one minor gripe and that is it finishes abruptly; at nearly nine minutes long and considerably sludgier than what’s come before it, a fade out would have perhaps been more appropriate to allow the journey it takes the listener on to come to a natural conclusion than snap them straight back into reality.

Those who have missed SNAIL in the past should certainly give Fractal Altar a spin or three – if you’re fully invested in the stoner/desert rock scene they are an essential part of your collection and, whilst this album may not be their strongest, it’s a very good entry point into a band that have woven themselves into the stoner metal tapestry and made it much richer as a result.

Rating: 7/10

Fractal Altar is out now via Argonauta Records.

Like SNAIL on Facebook.