The Snozzberries are gearing up for the release of their highly anticipated self-titled album, set to drop on October 11th. Known for their infectious blend of progressive rock, psychedelic grooves, and funk, the Asheville-based band has made a name for themselves on the festival circuit, performing at major events like Hulaween, Summer Camp, and Sweetwater 420 Fest. In this interview, singer and guitarist Ethan Heller takes us through the band’s journey—from their early days as a bar band to evolving into a powerhouse live act. Heller also delves into the making of their upcoming album, the influence of the late Sean Mason on their sound, and the diverse musical backgrounds that fuel The Snozzberries’ eclectic style. With their new album marking a rebirth for the group, Ethan reflects on the band’s past, present, and exciting future.
Prog Sphere: Can you take us back to 2017? What was the vision behind forming the band in Asheville, and how did your early sound evolve?
Ethan Heller: The band actually started as a bar band, we were all in other projects and just used the name Snozzberries as a fun, kitschy placeholder for our jam project. The reaction to our early shows was very enthusiastic, so we solidified our lineup and started writing songs. To look back and see how far we’ve come since those early days is a trip.
You’ve played at major festivals like Hulaween, Summer Camp, and Sweetwater 420 Fest. How have these festival performances shaped your identity as a live band?
The live performance is where we thrive. All of us spend our late teens and early twenties going to music festivals and were inspired by bands like Umphrey’s Mcgee, so I’d say the festival experience is a huge influence on the band. The interactive nature of a music festival, and the communities that come together for brief moments in time, largely shapes our intentions as a band – to both entertain and bring people together.
You’ve had the chance to share the stage with bands like Papadosio and Here Come the Mummies. How have these collaborations and experiences influenced your music and performance style?
We’re constantly absorbing and learning new things from other bands. For example, the way the Mummies interact with the crowd, or the way Papadosio incorporates psychedelic imagery.
Each band member brings individual influences to the table. How do these different musical backgrounds and tastes converge to create The Snozzberries’ signature blend of progressive rock, psychedelic vibes, and funk?
My favorite part of The Snozzberries is how diverse our sound is. Each of us having our individual influences is one of our biggest strengths. We all share a love of classic psychedelic rock, 70s funk and soul, and jazz. I grew up playing in punk bands, so there’s a distinct punk rock attitude behind the songs I bring to the table. Josh blends his passion for jazz with old school blues and soul – he used to be in a killer blues-influenced band called Travers Brothership. Ian has a ton of jazz and funk influence, a lot of Herbie and Chick Corea are in his sound as well as classic prog acts like Yes and ELP. Paul brings a ton of soul and melodic influence, best seen on his tunes Hide and Living Without You.
Your upcoming self-titled album releases on October 11th. How does this record differ from your previous work in terms of both sound and songwriting approach?
This record is basically a relaunch of the band. Before the pandemic, The Snozzberries was basically just a fun, funky jam band. In 2020, our original drummer Sean Mason passed away unexpectedly. We ultimately decided to continue on with the name, in honor of our friendship. We’ve since completely restructured the band, with only myself and Ian as original members. Bringing in Josh Clark and Paul Gladstone has drastically changed and the sound of the band, bringing in more prog and jazz. I’d also say our songwriting has matured significantly, as happens when going through major changes and grief.
Can you walk us through the collaborative process of writing this album? How do you typically approach songwriting as a group?
When we began writing songs for this record, we wanted to focus on coming to the rehearsal room with as much of a complete song as possible. Once we got together and worked through a song’s structure, we would dissect and reassemble it as needed to create the best possible track. Some songs, like Living Without You for example, were basically complete when introduced to the group. Others, like Guepardo Morado, had a basic structure and then we’d write new lead lines, or entirely new sections as group writing exercises.
“Circling The Drain”: This song represents your progressive metal influences. What inspired the creation of “Circling The Drain,” and how does it fit within the diverse sound of the album?
Circling The Drain is a really fun track, it is kind of a prog rock opus about someone on a bender trying their damndest to get straight. I wrote the main lick as a fun way to going between tritones and major chord arpeggios. The breakdown section towards the end was especially a challenge to get tight on as a band. On the vinyl this is the first track on Side B, it kicks you right in the teeth, and ends in a frenzy. I wanted to mimic the effect of being spun out beyond control, but done so in a tightly controlled way musically.
From Darkness to Light – “Return”: “Return” is a significant track for you, especially after the loss of your original drummer. How did this song evolve in meaning, and what emotions does it capture for you now?
Originally, Return was a classic darkness-into-light trope. But after Sean’s death, it took on a new meaning. It’s bizarre how much the lyrics and trajectory of the song channel the stages of grief. The middle section, with the noise-rock freak out leading into Ian’s huge reverb piano solo, really evokes the pain of losing someone close. But ultimately, we keep moving forward and return to light as best we can, and that’s what the song is about.
Funk and Neo-Soul – “Hide (Testify)”: This track brings in pop and neo-soul influences. What inspired the ‘70s disco derby pop vibe of “Hide,” and how did the collaborative energy during the recording session shape the final version?
Paul brought Hide to the table during one of our writing sessions with all of the parts tracked out – he is proficient on all instruments, not just his drumkit. We all loved the vibe of this one, it’s a “bop” as they say. Paul said he wanted to write a song you could bob your head to and groove out. During the recording session, we knew we wanted to feature Josh’s vocals heavily on it. Josh wrote his verse and bridge parts in the studio and went into the booth and crushed them out, it was mesmerizing and I think that energy really shines through on this track.
Can you tell us about Josh Clark’s role in creating the psychedelic prog track “Grundle”? How does his bass playing influence the dynamic of the band’s overall sound?
Josh is highly influenced by jazz and punk, and this track perfectly encapsulates both of these elements. It reminds me a lot of Primus meets Zappa. His distinct style of playing really comes through on this track, but more than that it’s a showcase of his songwriting. All of the wild unison lead lines are very “Josh” – they’re intricate, yet melodic; they’re jazzy, yet they’re punk as fuck.
Unlike the rest of the album’s structured approach, “Biting Through” came from a spontaneous jam session. What was it like to capture that raw energy in the studio, and how did it make its way into the final cut?
Biting Through has been in our live repertoire for a while now, Ian wrote the song at first with more of a disco funk vibe. Josh heard it as an afrobeat track and suggested reworking it as such, and that brought a whole new element to the song. When we went to record, we’d tracked all 9 songs on the first day, this being one of the last. So we just started jamming on it and went wild. Afterwards, we all collectively said…yeah that’s the one. We worked with Matt Williams (producer/engineer) to construct a song form out of the 13-plus minute jam session. Afterwards, Josh and Paul added in the percussion elements, making the song really come to life.
You’ve mentioned that the album’s heaviest moments contrast sharply with the more whimsical, groove-based tracks. How do you balance these different moods and genres within a single record?
Our goal was to balance these elements into a cohesive album that tells a story, and I think we achieved that. While there are so many different moods and genres, there is still a through-line to the record. We wanted the listener to be excited for the next track, not knowing what to anticipate. Some of my favorite classic rock/prog albums do just that – Fragile (Yes), Houses of the Holy (Led Zeppelin), etc.
What was it like working with Matt Williams at The Eagle Room studio? How did his engineering and production contribute to the overall sound of the album?
Matt is so easy to work with. He’s got a very musical brain, he’s an extremely talented musician beyond being a killer producer/engineer. He allowed us to feel comfortable and focus on tracking the songs, and would make small but considerable suggestions. His best skill is editing, he is lightning fast and is able to transform the raw track into a killer final product. There’s a reason why people have referred to him as The Wizard of Weaverville!
In “Hide (Testify),” Josh wrote parts of the verse and bridge just moments before tracking. How common is this kind of spontaneous creativity for the band, and does it often lead to your best ideas?
Spontaneity is something we frequently incorporate into our live show. We love improvisation and trying out new ideas on the fly. The thrill of doing it live put us in the amorphous space, not knowing how it’s going to land, and when things work it’s like lightning in a bottle. Josh’s studio vocals for Hide are a perfect example of channeling that spontaneous energy into something truly cohesive.
Since forming in 2017, how has your sound evolved, especially now with the release of this new album? What changes or growth do you feel are most noticeable?
Our sound now is so much more mature and assured. Before we were more or less just having fun. The new album is a pure vision, and I feel like it perfectly encapsulates where we are at as a band. That’s ultimately why we chose to release it as a self-titled album, as its almost a rebirth of the band itself.
Improvisation and extended jams seem to be an important part of your live shows. How do you approach improvisation in a live setting compared to in the studio?
During a live show, really anything goes. We listen to one another and react. It’s a game of saying “yes, and” like they adhere to in an improv acting class. In the studio, I’d say we are much more controlled, but we still allow for improvisational moments. A lot of the solos are more ideas than note-for-note melodies. And tracks like Biting Through are all out jams turned into songs.
With the release of the new album, what’s next for The Snozzberries? Are there any upcoming tours, collaborations, or projects you’re excited about?
We’re in the midst of a 27-plus date album release tour right now through much of the US, including a slew of dates with Perpetual Groove. We also just announced our annual Psychedelic Circus hometown event, this year with support from Mike Dillon + Punkadelick. Beyond that, we can’t say everything quite yet but we have a lot on the horizon.
For the album pre-order and merch visit The Snozzberries’ web store here. Follow the band on Facebook and Instagram.
