Music Pick of the Week



Highway Hypnosis

Year of release: 2019

by Jericho Cerrona


Eva Moolchan (aka Sneaks) is cooler than you. She won’t make a big deal about it, but it’s true. Starting out playing bass in a bunch of Washington DC punk bands before cutting her teeth with solo efforts like 2016's Gymnastics and 2017's It's a Myth carries a certain trajectory, even if those albums felt more like sketches than full-blown concepts. On what could rightly be considered her feature-length debut, Highway Hypnosis, Sneaks’s stoned swagger comes on methodically like a midnight drive inside a cloud of vapor. Eschewing the post-punk energy of her previous material for a series of tripped-out bmp electro and clipped beats, Moolchan sings/speaks/purrs like a young woman who (yes) has a sense of mischievous cool, but also an endearing goofiness. At times, Highway Hypnosis sounds like M.I.A. filtered through 90’s rave dance music, but somehow comes off even weirder than that.

It would have been easy for Sneaks to blow out her sound by chasing trap-rap trends, but her emphasis on minimal beat-based music in a downtempo mode means that those hoping for a series of bangers might be disappointed. Not that there aren’t bangers here (cuts like “The Way it Goes”, “Suck It Like A Whistle” come to mind), but Moolchan is more interested in throwing sonic curveballs than pleasing commercial sensibilities. There are elements of dub, lo-fi punk, soul, and funk thrown into the mix too, but categorizing everything under a specific genre is ultimately reductive.

Highway Hypnosis spans 13 tracks and clocks in at just under 30 minutes, so no one will ever accuse Sneaks of self-indulgence, but there are more ideas (both sonically and lyrically) packed into every corner of the album than anything in her back catalog. Much of this comes down to producers Carlos Hernandez and Tony Seltzer, whose groves/beats maintain an aural minimalism while still sounding dynamic enough for Moolchan’s playful vocal delivery. Whether it be the 808 electronic drum machine and non-sequitar lyrics on “"Ecstasy", or the psychedelic groove and clicking mouth sounds on “Suck It Like a Whistle”, Sneaks takes listeners on a literal journey—through the streets of Paris, the club scenes in Portugal, the underground areas of Atlanta—while also teasing out a woozy sonic expedition. Meanwhile, seemingly unimportant pit-stops along the way; like the experimental noise-based “"Saiditzoneza", or the repetitive vocals and slap bass on “Holy Cow Never Saw a Girl Like Her”, give the record a broader canvas. The album culminates in fiery lead single “Hong Kong to Amsterdam”, which is probably the closest Sneaks has come yet to the M.I.A. comparisons; with its skittering beat, laid-back flow, and the dancey atmosphere.

However, when all is said and done and every track on Highway Hypnosis has run its course, Sneaks will still be cooler than you.