It is an odd question, really: if collections of b-sides, rarities, covers and remixes are usually label-exiting waste and the tracks on Snapcase records are almost always meticulously selected, how will a collection of rarities from the Buffalo hardcore-punk legends size up?
The answer is quite interesting. "Bright Flashes" does a few things for Snapcase fans. It fills in the gaps that "End Transmission," their 2002 release, left. In the booklet for that record, the band printed 18 sets of lyrics for what was generally viewed as a concept album, and only put 13 of those tracks on the record itself. "Bright Flashes" holds the remaining five songs, and inspires another question.
Why didn't the band make an 18-song record?
The concept was wonderful and "End Transmission," though ignored by many hardcore snobs - perhaps the worst snobs of all considering the message their beloved music often sends - was critically acclaimed and by far their most sonically interesting work. Though it would've never been known had they not released "Bright Flashes," the five "missing" tracks would've meshed wonderfully with the thirteen that made it.
From the dynamic and chaotic first minute of "Dress Rehearsal" to the riveting and anthemic guitar build-ups of "New Academy" to the old school punk/metal feel and starts and stops of "Makeshift Tourniquet," these are songs that clearly should've made the "End Transmission" cut.
"Bright Flashes" isn't solely an outlet for unused band member favorites; it features four covers songs and three remixes. Snapcase throws their own spin on Helmet's "Blacktop," Devo's "Gates of Steel" and "Freedom of Choice, as well as - perhaps most interesting of all - Jane's Addiction's "Mountain Song."
While all the covers are recorded a little more lo-fi than the rest of the record, "Mountain Song" shows everyone exactly what Perry Farrell would sound like if he let loose with some hardcore screaming. Along the same lines, Snapcase vocalist Daryl Taberski could've probably done a fine job fronting Jane's Addiction, albeit with less weirdness. Sorry, Perry.
The remaining three tracks are remixes and reprograms. Though the arrangements of both Bill Snow, on "Believe/Revolt (Relocation Blueprint)," and the Rise's Ocelot Mthrfckrs, on "Exile Etiquette (Only British People Can Fly)," are very good, the highlight of the remixes is Snapcase guitarist Frank Vicario's work on "Ten AM (Good Morning, Mr. Coelacanth)."
Vicario's additions of laser-like sounds and a sort of background wah-wah bass add depth to Taberski's already poignant vocals from the rendition on "End Transmission."
"Bright Flashes" isn't a good introduction to listeners unfamiliar with Snapcase, but it is a well-put together record. It should be an intriguing listen for both those who grew up listening to the band and those that found them soon after the "commercial" success of "Designs For Automotion." Even the snobs may rotate their nose downward for a few precious moments.
Photo: Courtesy of Laron Fomby
