Review of ‘Worldwide’ by Snooper

Nashville ‘egg punk’ band Snooper whip up a mix of egg-plosive rock tunes.

This is my first egg-sposure to the punk microgenre known as ‘egg punk’ (I promise to ‘crack’ no egg puns from here on in).  Also known as ‘Devo-core’, the style of music consists of lo-fi fast-paced deadpan punk tunes that as far as I can tell have nothing to with eggs. Four-piece band Snooper (stylized as Snõõper) are a fairly recent addition to the egg punk scene, having only formed in 2020, but have already built quite a following. Their debut album Super Snõõper received rave reviews, and their live shows have garnered a lot of attention for their use of large crowd-surfing papier-mâché puppets (the band has apparently created a whole ‘snooperverse’ of papier-mâché characters).

Lead single and title track ‘Worldwide’ was my introduction to the band and remains one of the most fun rock songs I’ve heard in 2025. It’s an intense track with ultra-fuzzy bass and a disco-flavoured chorus (there are more dance music influences on this album than their debut). The lyrics seem to be about the chaos of being on tour – the feeling of being jostled from one place to another – which is perfectly encapsulated by the chaotic instrumentation.

I was hoping the rest of the tracks on Worldwide would be just as wild, and I’m happy to report that they are. There’s the hi-octane ‘Company Car’ which features the loopy lines ‘I’ve got the keys to a company car/ come with me and we’ll go really far/ let’s take it to Planet Fitness/ Just so everyone can witness’ accompanied by showy shredding and wah-wah revving.  There’s the fierce ‘Guard Dog’, which is an anthem about overcoming anxiety with dog bark sound effects into the mix. There’s ‘Pom Pom’, which is a song about being your own cheerleader, delivered in the band’s signature cheerleader vocal style and driven along by rattling drum machines. And there’s also a punked-out cover of The Beatles’ ‘Come Together’ (because, why not?).

A few of the cuts are a bit more straightforward like ‘Star 6 9’ and ‘Blockhead’, but even in these cases the breakneck pace and unique production keeps them thrilling. I particularly like how blown-out the bass is on this album, and yet how it doesn’t smother everything else – you can still clearly make out every lyric, every guitar note and every drum beat. Only at the end of closing track ‘Subdivision’ does the band allow things to fall apart into cacophony, at which point it feels necessary to provide a climax.

★★★★☆

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