The release of Ecce Shnak’s single ‘Jeremy, Utilitarian Sadboy’ in October 2024 marked a triumphant return for the most cult of art rock bands. Their first new recording in five years, the track shared something almost uncategorisable. Jumping from frenetic beats and rock riffs into post punk sounds, and eventually descending into a choir of voices sharing a warped carny melody, it packed more into three minutes than some bands manage over the course of entire albums. Their subsequent EP ‘Shadows Grow Fangs’ (released in February ’25) proved to be equally as inventive, sharing a half dozen numbers that seemed as keen to bemuse as entertain.

The live release ‘Backroom Sessions’ is an excellent companion to ‘Shadows Grow Fangs’ since it not only reminds the listener of the power behind two of that EP’s best tracks, but by coupling the still relatively new numbers with a couple of choice picks from an Ecce past, it also acts as a solid recap. Just as it stood out as an EP highlight, ‘Jeremy’ remains a highlight for this session, even with a few rougher edges present. Following a burst of feedback, the track’s driving riff attacks with a fuzzy edge, making everything sound more like an off cut from Faith No More’s ‘King For A Day’, whilst a distorted lead vocal increases the feeling of tension. Between the noisier elements, a second vocal punches through with an operatic intent, feeling a little more abrasive than before. The biggest change here, though, concerns the choir of voices used for the coda. Without the aid of multi-tracking and other studio tricks, the vocalists are left to rely on natural talent, and with a slightly looser sound – though no less strange – this final passage now sounds far more like one of Mike Patton’s weird experiments. In some ways, that’ll make this a little more palatable for the rock audience, but it still works brilliantly. The short and goth-tinged ‘Prayer On Love’ benefits more strongly from the live experience. The track’s deep guitar twangs are much harder; the crooned vocals take on a much fuller presence, and a groove-laden bassline cuts through with even more muscle. The blend of dark, male vocals and operatic female voices ensure this sounds like classic Shnak, but in some ways, the maudlin mood and semi-gothic edge now makes this sound like a heavier overspill from the Federale catalogue, but it’s still an enjoyable listen.

With regards to this set’s two older pieces, both hold up well in this no frills guise. The short ‘Fight Song’, a number dating from 2012, presents a very different sounding band with harsh vocal lines spat angrily over more of a standard hardcore riff. This still stands out against a “classic” hardcore workout, though, since David Roush occasionally manages to sound like David Byrne amid an uncharacteristic rage. With the aid of a spiky “fight, fight, fight” hook, this is actually rather catchy, despite being “written as a joke” way back at the beginning of Ecce Shnak’s somewhat sporadic musical journey. ‘Craig’s List Jawn: ¡Nay! / ¡Yay!’, meanwhile, shows off a hardcore tone in a more effective way, working a mid tempo grind before dropping into a deep chug, over which Roush drops an ugly croon and Bella Komodromos brings the artier elements of the band’s sound to the fore with her operatic melodies. Attempting to hold this together, the guitars switch between the dirty and metal-edged, to strange jazz, then back again, in true Ecce Shnak style…and somehow it works. It lacks the all round polish of the studio cut, but as part of this EP, it still sounds great.

For a band whose work doesn’t immediately seem to lend itself to live performance, this shows Ecce Shnak can come out fighting, and against the odds, create something genuinely tight and impressive. This EP probably isn’t recommended for the first time listener but, then again, there isn’t an easy entry point into the Ecce Shnak catalogue… For the fan, however, and particularly anyone looking for more of a musical thrill after having their senses mangled by ‘Shadows Grow Fangs’, this ‘Backroom Session’ is likely to provide a very welcome extra-curricular listen.

May 2025