Deadlamb Records are 100% DIY and is a place where I have great faith in the spillages that come.  2 fine guys do the business, they are pissing in the wind with joyous sincerity and never forget to keep this Fungalised git in the loop.  A package arrived from the emerald shores, a vinyl was there, from a band I know little of.  Snait are from Italy, they make short, sharp shockers and don't fuck around, this was met with great appreciation and interest.  Spins, consideration and the seven tracks were ready for some feedback.  I do what I do with idiot conviction and no personal progress whatsoever - isn't this just a beautiful way to be.

'All My Fears' and verbals come (translation book please) and into the fray we go.  A 90's style of noise with the repetitive stick work and technical tunery harking back to a time when this shizzle was all the rage.  Here the main gusts and thrusts are not overly complicated and we avoid getting too bogged down into that confounding claptrap that marred so many songs that could have been so much more.  The focus here is tight and zoned in, the application astute and with a short stop/start break repeat, the final grind out to the last blast is more than efficient.  In Fungal's humble opinion I have heard this stuff many times before but this is far from shoddy sonica.  I prefer the clatter-batter forwardness of '06AM'.  This is a piece that stays on track, channels all energy into one straight furrow of fuckery and blows out the cobwebs with some zipping zeal.  The approach is simple, clobber away, add an inner riff spill, plod it out with a more stable style and go for the finale with all areas intact.  The time it takes for the song to trespass on your cranial territory and then piss off into the great vibrating void is short - I like it that way!

Third up and 'Plenary Indulgence' sharply twinges, tub rumbles and then thrashes along with melodic control and a slightly new-fi style with a leap into a chanted closure soon upon us.  This, and the quick assault of 'The Blessing Way', are both terse examples of accurate musicianship, no-nonsense noise making and the creativity of something that perhaps is a little too fleeting for its own good,  The songs are faultless but for examples so brief, they lack an all-important 'grab factor'.  I play several times, I am impressed, frustrated and left with little more to add - the latter state may be a ruddy good thing for all concerned.  I hope I avoid being talked about at a comfortable sub-committee and being labelled a 'twat' - it can happen tha' knows!

'Call It A Day' is the best song of the lot, a real biting and punchy affair with a screwed up sonic countenance that is awash with acidic observations.  The leeches bleed matters dry, the new clatterers wanna be heard, here we have a band kicking out and striving to make their own impression.  The main winning essence of this song is the compacted running time, all action saturation and clobbering approach that shows a unit tightly knitted together and happy to fuse all focus and make for a blistering belt out that wallops home.    'Deceptions' has no intro and jumps straight to the fore - it is almost part and parcel of the preceding track.  Again all areas are mushed together and slap, twang and bollocks happy with the tumult incessant and the words lost amid the torrential downpour.  Herein is the greatest mistake - no ruddy lyrics on Bandcamp.  Thankfully I have a vinyl and have a lyric sheet - am I any clearer?  Within the 1 minute 47 second running time the band cram in a great cacophonic urgency and get the job done with flying colours intact!

The closure is another tip top tune and competes with my aforementioned prize pick due to its varying textures, more control and the sub-chorus that is engrained with a complementary blend of caustic passion and emotive seasoning.  'Do You Still Hate Me' is a quite accomplished outburst that moves matters up to new level, a level which I hope the band explore a little more. Crash, bang and wallop is all fine and dandy but it is always beneficial to vary the approach and keep the luggite on the edge of their attentive seat.  I think this latter song emphasises this and by heck, it is a darn satisfying moment.

Terse, tuneful and to the point but, despite being a  good release, a slight Fungal squeeze is on because I believe the band have a whole lot more to come!  They know their stuff, have a good flow going but for the next 7 gimme a curveball, a slow track and of course a little more of the same too. Hey, this is Fungalised feedback - honest, humble and I hope, helpful!

Montage merging of melodica that has a tendency to stray.  Here I venture forth for the third time, striving to sum up the end result of an across the waters cacophonic copulation between Andy Goz and Matt Nauseous (both of whom have many discordant dabblings dealt with by this reviewing git).  4 tracks is the order of the day. 

Duo the first - 'Altered States' is a swirl blur of liquid hues that swill around the grey gunk and play merry Hell.  A blending of challenging rhythms and semi-opposing acoustica all make for a metamorphed wank stain of dash splash deliberateness that at first may seem a trifle abstract and disjointed but which indeed has structure, weight and a purpose.  Tranced and shape-shifting contemplations are water-washed before being overlain with added etchings and multi-hued tomes that duly accentuate a mix that is outré and quite an alchemised mutation that starts as mere rock and ends up as a molten element many may delight in trying to fathom.  A perversion that takes us by the hand to the next fellow corruption, namely 'Invisible'.  This second track is more structured and has a sub-sci-fi scaffold of sound that upholds the general core of the creation whilst the architects can dabble and design with their usual angularity and may one add, awkwardness.  The sinuate flow of the arrangement, the disjointed building blocks that paradoxically fit into place and the appealing edge that is now a familiar speaker spill around the Fungalised noggin all help make this a more than gratifying snippet of the outlandish.  We must keep our attentive noggins on the brink!

And the next brace 'Prison Of Imagination' bumbles in, shimmer shake whispers before examining the cerebral shackles so many are crippled by.  This is a strange invasive piece that I just don't get along with.  I am not keen on its whole approach, find it too wishy-washy and not really firm enough in its approach.  There are acoustic experiments always destined to come unstuck - I find this such a piece.  I always give good time and consideration to each and every resonation that hits my membrane - I refuse to try and like everything.  'Letter To Dog' has more substance but again just doesn't grab the sensors of appreciation.  Matters get a trifle too blended and confused, overstep the mark and invade the airspace without any thought it seems for neighbouring cacophonic comrades.  Each individual contributor seems to get haze/phased out and we are left with something that feels a little rinsed through and shy of the mark.  Again, I am not keen, which is a shame because this lot usually have me intrigued and wondering - hey these things happen.

Four tracks, 2 have me absorbed, 2 have me switching off - tha' listens in, takes yer chance and this is how the cookie sometimes crumbles.  These are my thoughts, as honest as the day is long, what more can I do?  It is my third encounter with this lot - I do try tha' knows but I reckon they have better stuff on offer and, to come.