At War With Self | Acts Of God

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Acts Of God

by At War With Self

Progressive rock - For the second release from the project created by former Gordian Knot guitarist Glenn Snelwar, elements of progressive rock, metal, grunge, funk, industrial and classical stylings are combined to create music with no boundaries.
Genre: Rock: Progressive Rock
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  Song Share Time Download
1. Acts Of God
3:37 $0.99
2. 911
5:02 $0.99
3. Threads
6:01 $0.99
4. Ursa Minor
6:47 $0.99
5. End In Blue
7:23 $0.99
6. Martyr
6:35 $0.99
7. No Place
7:43 $0.99
8. Choke Loud
4:19 $0.99
9. Refugee
8:33 $0.99
Downloads are available as MP3-320 files.


Album Notes
The critics say:
-9 of 10 stars…Maelstrom

-3-1/2 of 4 stars...RoughEdge

-4 stars...Ytsejam

-4 of 5 stars...Music of Belgium

-an extraordinary album...Progressive Ears

-Guitar Player Magazine Editor Barry Cleveland names AWWS/AOG top pick for September 2007. (Rants and Raves - What's Spinning in the Editors Heads This Month)

-an excitiing listen...ProgPlanet

-a representation of art and aggression...Ytsejam

-music without boundaries...Rough Edge

-Album of the Month, June 2007...Babyblaue Seiten

-AoG is one one of the albums that give new fuel, ideas and possibilities to the stylistically one-dimensional progressive rock music of nowadays. And furthermore, the CD is simply highly entertaining with its abundance of ideas and sonic impressions. Art-rock in the true meaning of the word...Raggazzi

-Snelwar stands like a rock when it comes to the creation of music that is on the one hand as far as possible from popular taste in music, while still being able to bring excitement to the ears of unexperienced listeners...Rocktimes

-With “AoG“ Snelwar and Co have succeeded in making a suggestive – and sometimes highly explosive – mixture of prog metal, post rock, fusion, prog, elektro and ambient, from which it is hard to refrain oneself -12 of 15 Stars...Babyblaue Seiten


-a very enjoyable and challenging listen...Progressive Ears

-AWWS is a very important band to the new progressive regime and you owe it to yourself to pick up a copy of “AoG” today!...Prognaut

-the sound of an artist stretching his artistry to new and uncharted realms, forging headfirst into progression...Rough Edge

-I wouldn’t be surprised when “AoG” pops up in several polls as Surprise of the Year...Babyblaue Seiten

At War With Self - "sounds more like a psychological diagnosis than a band..." an appropriate description in the biography for the debut of the project and its first release, Torn Between Dimensions, led by Glenn Snelwar (Gordian Knot), featuring Michael Manring (Michael Hedges, Attention Defecit) and Mark Zonder (Fates Warning, Slavior). The instrumental trio created an amalgam of tight-knit compositions encompassing progressive rock, metal, jazz, ambient and classical stylings, often within the boundaries of each composition. The end result was critically acclaimed and continues to grow a following as word of mouth of the project expands.

For Acts of God, the second release from the At War With Self project, Snelwar has desired to create a set of compositions with the intentions of living up to the label 'progressive' by dramatically changing almost every facet of the project while staying true to the underlying inspiration of the project's inception - to combine disparate styles and create music with no boundaries. No better choice than Damon Trotta as a co-writer and bassist to create what is sure to be as intriguing a release as Torn Between Dimensions. Trotta's background ranges from co-founder of metal acts Non-Fiction and System Addict, to the funk outfit Vehicle and has worked with the likes of Bernie Worell and Isaac Hayes. Prior to that, Snelwar and Trotta were in a progressive hardcore/metal trio together. Trotta and Snelwar are back to their roots,
with some added influences. With Trotta on bass, vocals, synths and programming and Snelwar on guitars, mandolin and synths, the duo is assisted by Sluggo's Goon Music labelmates James vonBuelow (guitars), Steve Decker (drums), Mark Sunshine (vocals),Dave Archer (synths) and Manfred Dikkers (drums) to create some truly stunning, inspired progressive music.

Torn Between Dimensions had a warm, organic feel as the all-instrumental interplay of Snelwar, Manring and Zonder created a complex, but introspective, set of related compositions. For Acts of God, that introspection is turned outward in the form of a cold stare at conflicts and resolutions prompted by recent world events. From the intensity and imagery-invoking 911 and Martyr, to the solace present in No Place and Ursa Minor, to the desolation of End in Blue and Refugee - Acts of God has managed to strike a balance of emotions that once again run the gamut from elation to horror.

Acts of God is available WORLDWIDE, exclusively online at CDBaby ( Glenn Snelwar at for all things At War With Self. Visit for info on other music without boundaries.



to write a review

Tommy Hash,

Axeman Glenn Snelwar (Gordian Knot) is a phenomenal virtuoso to say the least; on his last record with At War With Self (Torn Between Dimensions) he led a power trio of himself, Michael Manring & Mark Zonder through experimental passages of Attention Deficit/King Crimson-esque pandemonium; but on his the latest, Acts of God he takes that approach further, with a more brutal and grinding approach, where the headroom for melodic and instrumental abilities to expound upon a whole new production aspect.

With this new record intact, Snelwar has incorporated a whole new set of musicians, including a vocalist, setting upon a musical direction with a sound that links Voivod with A Triggering Myth, adding a little Canvas Solaris & F-O-E, with of course the Snelwar/AWWS sound. Opening up with the layered acoustic guitar/mandolin dominated title track, the album leads in to the explosive “911” where the dark, crunched guitars are in full force in front of the systematic rhythm section. Following up with droning cuts such as the noise laden “Refugee,” the haunting “End in Blue,” and the soundscape known as “Ursa Minor,” the beauty is found within the skin deep compositions that Snelwar has provided. However, tracks like the post rock of “Threads,” the trip-hop infused “Martyr” and the multi-faceted jam session of “Choke Loud” expose the belligerent six string slinging and arrangements.

Even with all of the guitars, synths, samples, complexity, reverb, and layering you won’t be blindsided with all that is involved, Acts of God is an album where there is a lot going on, but the melodic bearing remains interesting throughout the record. Acts of God is a representation of art and aggression, where the musical worlds of both collide into mass of technical extremities.

Maelstrom: Jeremy Beals

9 out of 10 stars
With a name like "At War With Self," I was expecting more metalcore jackassery;
fortunately, the band is made up of musicians from such bands as Gordian Knot. What is
showcased here is some highly technical, progressive metal that will undoubtedly knock
you on your ass when you hear it for the first or fiftieth time.

The instruments are crystal clear, and have a beautiful, organic tone. The guitar can be
precise at one moment and utterly chaotic at another; leads that appear out of nowhere
are common, and usually soar into the highest heavens, only to later plunge right into
the ambient background melody generated by the synths. The bass is very strong, and
completely on par with the guitar, and is never buried under the rest of the instruments
as it is in many metal releases. Drums are completely on their own ground, sometimes they
give room for breath for the guitar and bass to flirt and dance, become prominent or not;
other times, though, they fuel the insanity by throwing percussive beats timed in
calculated algorithms giving no respite to the technical insanity that follows the

It’s odd to find, though, that the largest dynamics found on the disk do not typically
come from the role played between each instrument, as that changes wildly within each
song. Instead, the amazing not-so-subtle dynamics come from the usage of each instrument
in-between the smackings of clarity and disorientation. The perfect example of this would
be the track "Martyr," with its large buildup and natural flustered sound.

Although mainly an instrumental band, the vocals that are incorporated into this album
are undeniably perfect for the songs you find them in. The vocal duties switch between
various musicians, and each vocalist you hear has a distinctively different voice that
really adds to the overall character of the album.

Although the album has the atmospheric quality that I can only describe as "madness" at
times, the music still maintains to be incredibly relaxing in this respect, Acts of God
is in its own right a audio masterpiece. I highly recommend this album to anyone who
actually enjoys instrumentation as done by progressive guitarists.

Babyblaue Seiten: Siggy Zielinski

12 of 15 stars
For Glenn Snelwar, the project leader and guitarist of At War with Self, composing is a struggleful process, and hence the name At War With Self was chosen well. For the second disk of At War With Self Glenn Snelwar, who besides music also has a career as a chemicist, teamed up with old companion and bassist Damon Trotta with whom he already worked in demo recordings back in 1994. Of the line-up of the first album Torn Between Dimensions only Snelwar remained. Also, the musical differences are unexectedly large. According to Snelwar, the musical direction of the second CD would change more towards a prog-rock direction, which is also evident from the use of a singer. For me, an import characteristic of Torn Between Dimensions were the fine structures laid down by acoustic side-instruments such as the mandolin and guitar. However, the end result made a somewhat emotionless impression. For Acts of God however, the most important aspect seems to be the overall dark atmosphere, which can manifest itself through the less dense compositions and song structures. To me, Acts of God is a significant improvement with respect to Torn Between Dimensions. My favorite piece is Choke Loud, in which the shredding guitars and Industrial atmospheres bring happy memories of King Crimson. As a further comparison the recordings of the David Cross Band keep coming to mind. With Acts of God Snelwar and Co have succeeded in making a suggestive and sometimes highly explosive mixture of prog metal, post rock, fusion, prog, elektro and ambient, from which it is hard to refrain oneself.

Babyblaue Seiten:Fix Sadler

12 of 15 stars
This project passed me by during 2005. “Mark Zonder is now doing shred math metal of the mediocre kind” were the few thoughts that came to mind from the review of the debut album. However, I have never actually heard
Torn Between Dimensions.

For the “progrock-dt-show” (also unofficially known as the “Schuli-show” []) one is grateful for each thinkable novelty, which is the reason I laid hands on the second Snelwar disk. The surprise was huge.

Surely, a certain metal heritage can be heard, and this disk definitely does not deal with hymnical sympho songs. But At War With Self is far away from emotionless, dull instrumental metal onany. In addition, I find it quite amazing how close the band reaches a “room-sound”. The disk creates a deeply acoustic atmosphere with the refined drumming and percussion, the use of acoustic guitars, mandolins and bass. The electric instruments are woven into the sound with restrain, with sparsely used “Frippian” licks and touches of keyboard or electronic effects here and there. Key aspect of the disk is that it’s not about showing off musical abilities. On the contrary, the musicianship is used in a restrained and tasteful way, while still remaining complex and impressive.

A singer was also brought aboard who interprets about half of the songs in a pleasant, light and “grungey” way, bringing a mood reminescent of the days of Led Zep. Siggy says: “With Acts of God Snelwar and Co have succeeded in making a suggestive and sometimes highly explosive mixture of prog metal, post rock, fusion, prog, elektro and ambient, from which it is hard to refrain oneself.” I couldn?t say it any better than that. However, I would replace “prog metal” with “70s hardrock” and want to emphasize once again that the disk has a “Rio room sound” atmosphere to it. I wouldn’t be surprised when Acts of God pops up in several polls as Surprise of the Year.

The Dividing Line

At War with Self offer us a new album with their "Acts of God". This band is one of the most interesting sounds I have heard coming out of prog in a while. It is not that they are not prog, but they take the meaning and really express it. If progressive music, means that we are constantly in this unfolding of new ideas, and various juxtapositions of sound, then At War with Self have managed to extend into that definition. While their sound has an ambient resonance, it is filled with a jigsaw puzzle of other influences, including jazz, metal, as well as the typical pomp of the progressive march. While this
could come off as sounding snooty, they pull the trick off by delving deep into meaning. This is not just music for the sake of music, there is an underlying message that the band wants to impart to their listening audience.

Rocktimes (Italy)

About two years ago we discussed At War With Self, the project based around the ex-Gordian Knot guitar player. Since the album Torn Between Dimensions
released around that time, several things have changed. The least drastic change being the fact that Acts of God is no longer an instrumental album. Looking at the line-up makes one curious, since except for Glenn, no other members of the original line-up are present. The crew now consists of
Damon Trotta (Isaac Hayes, Bernie Worell), Mark Sunshine, Steve Decker, Manfred Dikkers, James Von Buelow as well as Dave Archer.

Given the interview with Glenn of two years ago, the line-up renewal isn’t that strange: “At this point in time, At War With Self is strictly a studio
project. I don’t see it as a “true” band, in the sense that line-up changes between releases are part of the plan. With each release I would like to point the project towards a certain direction, and having specific musicians are an important requirement for that. Perhaps the next release should not be in a trio setting.”

Stylistically some things have changed, but I would to stress the fact that this isn’t music for the masses. The same was true for the previous disk, hasn’t changed for the new one, and when reflecting on the interview, one reaches the conclusion that this will not change for any future releases either. The carefull listener will be challenged quite a bit, but once
accustomed, new things are discovered with each new listen. I would almost go as far as to say that Acts of God will have a different impact with
each listening session.

The acoustic guitars in the opening track bring a feeling of safety to the listener, until powerful synthetic drum hits start to build a ghostly and
imminent drama, as an introduction to 911. There, the acoustic guitar is played swiftly to accompany prog-metal riffs and structures, and the excitement of the fundamental tenor is alternated with quieting and unexpected melodic lines. In association with the sadly famous date, this track gives the feeling of experiencing the TV footage all over again, not really seeing it, but reliving it with other senses.

Threads is funky, brings in the vocals and with the metal guitars, imminent pumping bass and heavy drum beats kicking in. One should change
from loudspeakers to headphones to fully take part of it and perfectly enjoy the spheric moments from up close. The next track Ursa Minor also has vocals, but more with a psychedelic twist, and the loud and heavy guitar riffs bring pleasance and ease to the song.

End in Blue continues in the same tempo, but is more ambient until, by becoming psychedelic and by starting to show At War With Self, it
demonstrates that experimental musical ideas are not sacrificed to popular taste. Wearing headphones during this track gives the feeling of being put
through a gigantic meat grinder without getting hurt.

The opening strings of Martyr sound almost sweet, but latent bass and percussion sounds foreshadow that things are about to change. Immediately
thereafter, an attack of guitars and accompanying cacophony arises. A break introduces another passage reminescent of Tubular Bells. As in real life,
feelings of hurt and well-being are in close distance. An orderly cacophony of all instruments and electronics in reach - with deep roaring bass - then
arises which would put the “regular” listener on the edge of insanity.

No Place on the other hand could be certified as a song that brings the listener back to more quiet ground. On top of a rather complicated rhythm,
the vocals are floating in an easy-going way comparable to an old message bottle floating in the waves near the shore.

A mixture of funk and jazz goes by the name Choke Loud. Massive walls of guitar, synth and who knows what else build up rapidly, and those of a sensitive nature, listeners of straightforward metal, good old blues and classic rock, will be grateful for the existence of headphones.

As if in reconciliation, the ending track starts with a slide guitar, vocals reminescent of a mixture between Robert Plant and Zakk Wylde, and also of the quiet psychedelic Zep songs, although the sonic range with At War With Self is in a different league. Slowly rolling basslines propagate like a cloud of dry ice in a surreal torture chamber, followed by a doomly
intonation of "When The Saints Go Marching In". A distance voice is added in canon. The vocals become more aggressive, but also disappear somewhat in
the mix, and instruments, transistors and circuit boards move to the front. This song is like a hammer. Other terms like sledge hammer, or battering
ram would also be apprioriate.

Glenn Snelwar stands like a rock when it comes to the creation of music that is on the one hand as far as possible from popular taste in music, while still being able to bring excitement to the ears of unexperienced listeners, when giving this music a chance.

The record label is Sluggos Goon Music, a collective of musicians and technicians doing their own thing in a straightforward way, far away from the major labels with their often specific musical demands. This might well be the reason that this CD is currently only available through CD Baby.

The album is dedicated to the late Voivoid guitar player Denis “Piggy”

Raggazzi (Germany)

Behind At War With Self are Glenn Snelwar(Gordian Knot) and Damon Trotta (Non-Fiction, System Addict, Vehicle, Bernie Worell, Isaac Hayes). Glenn Snelwar once started the band together with Michael Manring and Mark Zonder, resulting in a CD. Not only did the musical direction for the second second disk "Acts of God" change entirely, but also Snelwar is the only remaining member. He found a new ally in Damon Trotta towards a new identity in the shallow experimental music from the stylistic fields of progressive and psychedelic rock, metal, jazz and ambient. The duo found support in Mark Sunshine (voc), Steve Decker (dr), James von Buelow (g, prog), Manfred Dikkers (dr) and Dave Archer

Sure there are clues and connection points here and there, but in general "Acts of God"
is difficult to compare to its predecessor.
Besides Crimsonesque layers, funky jazz, lyrical ambient sounds and the rhythmic savageness of metal, the band displays an innumerable amount of aspects. As if Mike
Patton would get a sudden interest in progessive rock and dig himself into it, dive into jazz and metal, into complex extravaganza typical for Van Der Graaf Generator [British band], use a metal guitar solo in McLauglin style over a rarely comprehensible funk note in which the melodic legacy of the 1973 King Crimson is reflected. But still, with everything well fit into a modern sound, with contemporary arrangements and a mix that doesn't resemble the 70s at all.

However deep the musical influences are, the complex structures of their songs still show
themselves, eclectically changing from one moment to the next - from latin funk to crimsonesque avant garde, from symphonic ambient and dreamy melancholic to jazz-inflicted loudness, from idyllic deep thoughts to avantpop featuring triphop rhythms. It is amazing and unique how prog, avantgarde, jazz and pop go together in an intensive unity. At the
same time, the band never gets extremely loud or metallic, stays harmonical and retained, while still remaining utterly challenging for the "normal" rock fans.

"Acts of God" is one one of the albums that give new fuel, ideas and possibilities to the stylistically one-dimensional progressive rock music of nowadays. And furthermore - to put things into proper perspective - the CD is simply highly entertaining with its abundance of ideas and sonic impressions. Art-rock in the true meaning of the word.


In 2005, Glenn Snelwar started a project called At War With Self with Fates Warning drummer Mark Zonder and bassist Michael Manring. The result of this power trio was the album "Torn Between Dimensions" which was released on the Laser’s Edge Free Electric Sound label.
Unfortunately the trio didn?t carry on but the name did and Glenn Snelwar proceeded with a new line-up for Acts of God. Joining Glenn is long time friend Damon Trotta. Damon appears on almost every track, and plays bass guitar, synths, didgeridoo and also sings on a couple tracks. You can say this version of the band is a “Duo Plus” The rest of the
musicians include a vocalist called Mark Sunshine, Steve Decker & Manfred Dikkers on drums, James VonBuelow on guitars and David Archer on synths.

The music to me is not better than the debut, it’s more expansive especially with the
addition of a vocalist. I also think Glenn’s musical visions are set loose on this CD more so than the debut. Plus there seems to be more musical dynamics going on. For instance the first track, 'Intro', which starts off with a soothing acoustic guitars then
builds to something quite intense. The music has a very dark atmospheric, almost gothic vibe to it. It reminds me of two bands, OSI and Paatos (instrumentation) but has an identity that I haven’t heard before. Another thing I heard was a slight Peter Gabriel resemblance in a song called 'End In Blue'. Dare I say it could be a darker side of
Peter’s world music endeavors.

This is a very dark, disturbing CD and I like it. The reason I like it is it’s a metal album that thinks way way outside of the box. With titles like '911' and 'Choke Loud' you’ll understand this is not a happy album but it’s not an angry one either.

I think fans of the debut will like this especially if the enjoy Glenn’s creativity and see he can do a great album without Mark Zonder & Michael Manring. I know those names carry a lot of weight in the progressive realm so some may approach this with caution. To those, I’d say throw away your inhibitions, take a chance on "Acts of God". Yes it’s a challenging listen and may take a few times for it to gel but once it does you’ll go WOW.

In closing, I do like the direction Glenn is going with At War With Self and I hope
there’s many more albums under his belt. At War With Self is a very important band to the new progressive regime and you owe it to yourself to pick up a copy of Acts Of God today!


3-1/2 of 4 stars
I was introduced to Glenn Snelwar via the debut Gordian Knot CD and became further familiar with Snelwar’s guitar and musical exploits via his own At War with Self project. There is no need to repeat that history here, but it is nice to say that in the span of
two CDs over a couple of years I identified Glenn Snelwar the artist as an intriguing musical force.

Glenn Snelwar remains the center of the At War with Self project. However, this time around, as with the At War with Self’s second disc Acts of God, Snelwar has recruited an old friend and musical foil Damon Trotta to be the main collaborator on this version
of At War with Self. Obviously, the prospect of an emerging artist building and expanding on their artistry must be daunting. However, with Acts of God Glenn Snelwar shows the world that he is fearless.

The first two-thirds of the opening title track Acts of God features lovely acoustic guitar before drastically turning ominous as an intro to the Arabian-styled melody that informs the beginning of the next track 911 and it is disturbing. This particular
pairing of songs is no doubt the intent of the artist as the events of 9/11 clearly were no Act of God. Martyr begins with cinematic-styled washes of sound before slowly drawing the listener in to an acoustic driven melody that expands into a bass-driven
progressive masterpiece. However, Martyr bleeds its way into a quasi-industrialized ending and results in a disconcerting echo of the finality of a man’s choice to die for whatever he believes in.

I freely admit the prospect of vocals being added to At War with Self was not a stimulating nor thrilling idea at the time I was made aware of it. However, I was able to reasonably assure myself that the vocals were not going to be “pop” in nature which would
be an extreme departure from the modus operandi of At War with Self. Additionally, I’m
always looking for real emotion in the songs that I listen to and admire. The vocals that have been added to the At War with Self sound on Acts of God go a long way to a new emotional perspective to the band’s music. Tracks like No Place and Ursa Minor
exhibit the kind of emotion that elicits feelings no one wants to feel unless the conditions creating those emotional responses are forced.

The vocal impact is immediate as the third (and, by the way, promotional) track Threads
maintains a sense of “catchiness” while forging forward with staunch progressiveness and
unique independence. The vocals on End in Blue are very Peter Gabriel-like; and this is
very cool as I’ve recently had a new found appreciation for Peter Gabriel’s voice and
music, particularly outside of the “hits” that he is known for.

With Acts of God Snelwar and his musical companions are brave and ferocious. The
results can be heard in the manner in which the songs each have their own identity; or, in some cases, multiple identities within each song. Snelwar and his contributors stretch the songs to the near breaking point. Yet, somehow Acts of God seems like a complete work and indeed, it is music without boundaries.

Acts of God is not a clone of Torn Between Dimensions and for this I am thankful.
Acts of God is the sound of an artist stretching his artistry to new and uncharted realms, forging headfirst into progression, reconnecting with a musical companion, and leaving the results for all to see.

Acts of God was produced by Glenn Snelwar and Damon Trotta.


Some folks will recall the name Glenn Snelwar from his involvement with Sean Malone’s Gordian Knot project on the first CD. Glenn’s excellent guitar work helped define that album and impressed quite a few folks in the process. After the experience with Gordian Knot, Glenn decided to take some time away from the guitar and pursue his chemistry career. In 2005, Glenn was back and this time with his own project called At War With Self. Joining him for the album Torn Between Dimensions were Fates Warning drummer Mark Zonder and bassist extraordinaire Michael Manring. This was an extremely powerful trio and the album was one of the best releases on the Laser’s Edge Free Electric Sound label.

While the trio did not remain together for a second album, Snelwar has chosen to retain the name At War With Self for his second CD called Acts of God. According to Glenn’s website, the seeds for this album were planted in 2002 when he received a demo CD from long-time friend Damon Trotta. Glenn was impressed with the demo and began to layer guitar tracks on top of the demo and before they knew it, the friends from the high school band were back making music together. Damon appears on almost every track, playing a wide range of instruments including bass guitar, synths, didgeridoo and also sings on a couple tracks. Although these two produce most of the music, there are several other musicians involved.

The title track opens up with some very soothing acoustic guitar chords, a bit reminiscent of Anthony Phillips. About halfway through the track there’s some very tense and dramatic music with an ominous drum beat signaling that this is going to be the start of something clearly out of the ordinary. One of the things I really like about this album is that although Glenn is an awesome guitar player, the music here is in no way a “chops fest” and while there are some nice solos and lead parts, the main focus is on creating an atmosphere in the music. Things tend to be on the heavy side for most of the first half of the album but it’s more of a cerebral metal type thing similar in many ways to something like OSI, with lots of rhythmic programming and an ample use of textural keyboards and guitar effects. One of the things I noticed on further examination of the music is that there are also plenty of psychedelic moments to this album, something that’s a bit uncommon with a lot of metal. While there are numerous vocal sections, I would say the main focus is on the music.

For me, things really start to pick up around the sixth track “Martyr”. The music takes on a much more abstract quality, I’d even go so far as saying they reach avant-garde territory in a few spots. There seems to be a horror movie soundtrack characteristic that gets mixed in with the metal that’s just really cool. It’s as if Glenn and company are losing that ‘war with self’ but the music has totally benefited from the struggle. “Choke Loud” is a very twisted piece that has some unusual programming and guitar work from James VonBuelow who also appears on a few other tracks. The final track sees the project slowly spiraling into complete insanity. “Refugee” has a plodding, almost industrial drumbeat provided by Steve Decker accompanied by some acoustic slide guitar and foreboding background atmospheres. The regrettably named Mark Sunshine supplies some very gloomy vocals that sound like they could be coming from a suicidal Robert Plant. There’s a really disturbing part towards the end where he’s chanting “When the saints go marching in” over and over.

I hope I’m not making this whole thing sound too bleak. While much of it does have that quality, I would definitely say this is a very enjoyable and challenging listen. Glenn Snelwar has proven himself as a highly skilled guitar player and now he is proving that he can craft an extraordinary album.