Originally striking UK punk circles from beneath the retreating wing of the pandemic, SNAYX have not uncoiled their vice grip on scene since their original attack. Better Days sees them further sinking their fangs into the scene’s psyche whilst infusing their venom with new musical toxins.
The new four track extended play from the South Coast trio, Better Days stands as SNAYX further compounding their acid-laced documentation of languishing in a stalled country overruled by a corrupt conservative government that see’s the population with nothing more than contempt. Much akin to their previous work – including last year’s brilliant Weaponised Youth EP – Better Days is a combative piss-and-vinegar scented molotov of incendiary punk sensibilities, one lobbed with pure furious intent. However, here, the solution within such bombardments has been refined and further distilled. The same furious, hyperactive and swaggering sense of punk that capitalizes SNAYX remains, but elements of grime, hip-hop and similar genres has been chemically added to the mix. Make no mistake though, this is still the same SNAYX as before, but their take on contemporary British punk now bites even harder.
The first half the record, consisting of previously released singles ‘Better Days’ and ‘Sink Or Swim’, is unmistakably the sound of band bolstered with confidence and purpose. Combining the sense of collective playfulness that characterised their first smatterings of material with hardheaded morale, these two tracks are quintessentially the peak SNAYX experience. It’s nigh-on impossible not be energised by the trio’s approach to contemporary punk here, with the stylings present harkening towards a band that have intentionally taken the sound of evident inspirations in Soft Play, Kid Kapichi and others of their nature before infusing them with organic twist that can only come from a deliberate desire to create music that provokes.
The second half of this EP – consisting of ‘King’ and ‘Concrete’ – is where SNAYX demonstrate some further dynamism not found within any of their other material thus far. ‘King’ stands as one of the band’s most easygoing works to date, with the aggression and bounce one would expect sublimated into a placid and oppressed post-punk sway that almost feel’s borderline 1980’s-esque in tone. ‘Concrete’ is a far more forthcoming affair however, with a synthetic, almost siren-like riff punctuating the track. However, despite their differences, this is still the sound of a band many have become accustomed to. The same vigorous poison remains, albeit mixed with new motifs, ensuring the overarching thematic theme demanding much required change is engaging and forefront.
Overall though, this is the sound of a band confident with their output. They may be a relatively young act, but SNAYX know how to reinvigorate both their fans and passing listeners, and here they prove it. Whilst modern punk of this nature can often come across as arrogant, obnoxious, and dare say lad-like to an overbearingly masculine degree, here SNAYX substitute such undesirable qualities with authentic purpose and a drive for community whilst still wholeheartedly retaining the confidence and well-meaning swagger associated with such traits. It may be an accolade thrown around to the point where it may be losing meaning, but once again SNAYX show how they are one of the most exciting and genuine punk bands in the modern national scene.