I won't start this review with expressions like "once upon a time", but I have to admit I felt tempted to do so while speaking about releases like this one, whose explorations by means of old fashioned analogue synths, recording techniques or tools, including the glorious tape recorder, which could inspire the same enchantment of a well-stocked antique store, could lead some listeners to believe that the apex of sonic research is not the perfect cleanliness of digital sound. I have no precise idea about the explanation of the title "Grapes & Snakes", even if a friend who owns a recording studio told me that he heard the slangy use of both words from some sound engineers - grapes, rhyming with tapes, could allude to green led lights under peak levels on mixer decks (similar to bunches of grapes), while snakes could refer to the typical pattern of soundwaves -, but I don't like puzzling with similar oddities. However I noticed some similaraties of the stereophonic movements of the sounds on the first track "Shattered Capsules" with the ones of water serpents, portrayed on the very elegant silkscreened pvc sleeve, when they wrap around something as well as the amazing and somewhat estranging pricks on sonic patchy fog and other (sometimes primordial, but extremely seducing) ways for interlacing sounds. Whereas the progressions on the above-mentioned "Shattered Capsules" sounds more straight, the second 20-minutes lasting track on B-side, "Burning Nest", sounds like a psychoacoustic storm, which gets gradually drenched with trembling low frequencies and droney dirty injections. The stylistical garment, which might recall some combinations between tape records and primordial industrial - not so far from some experiments by Mika Vainio -, could be explained by the background of the musicians: Aaron Dillaway was one of the most imaginative member of Wolf Eyes and borrowed his mindblowing, highly energetic and emotionally purging climaxes to a plenty of important projects of the experimental and noise electronic scene, while Jason Lescalleet scouted old-fashioned equipment and tactics in order to explore microscopic audio detail and really extreme sonorities. Their collaboration could be better appreciated if listened with close eyes, just like some stuff by Conrad Schnitzler or other forerunners of this sonic researches.