This is sweaty, tattooed flesh, whiskey fumes seeping from pores, set to music, as real as you’ll find in this country, which is what makes The Snowdroppers, and Moving Out Of Eden so good.
The Snowdroppers rumble in the dark. Sounds that keep you awake at night. Dirty brown tunes that bump and grind, scungy barrooms frequented by women of ill repute, places where you stick to the floor and wonder if you should really be there at all. That's where this music comes from. Ripped from deep within, vomited out into the world with reckless abandon.
This is a band who can do no wrong, as is evidenced by their incendiary live sets, their recorded output thus far (indeed, debut LP, Too Late To Pray, released in 2009, garnered positive reviews the country over), their rock solid work ethic, their adherence to their own original ethos, losing nothing as their star rises above most others.
The long-awaited follow-up to the aforementioned debut, Moving Out Of Eden, sees this mounting momentum gain more speed. A band not afraid to embrace evolution and change, they're adding to the four-to-the-floor country-billy blues 'n' roll a swirling warmth, an introspectiveness uncommon to most treading the stomping motorcycle boot-to-the-floor path.
Their trademark evil permeates a good number of tracks. They add a dash of glam (White Dress). Johnny Wishbone refuses to Americanise his vocal. They sing of what they know and so you believe them. This is sweaty, tattooed flesh, whiskey fumes seeping from pores, set to music, as real as you'll find in this country, which is what makes The Snowdroppers, and Moving Out Of Eden so good.
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