Ruby The Hatchet play a bewitching form of proto-metal that references the genre’s greats while putting their own stamp on the proceedings. At their core, they know how to write great heavy rock songs, with memorable riffs, varied tempos, and melodies that stick in your brain. As befits a band in the modern age playing more venerable forms of music, Ruby The Hatchet have a wide variety of sounds to choose from in order to craft their intoxicating sonic brew.

Vocalist Jillian Taylor provides a beguiling presence. Her vocals do a excellent job conveying the various emotions found in the music. She is equal parts seductive and destructive, just like the music she sings over.

Speaking of seductive, the band knows how to work a hard rocking, hip-swaying, head-bopping groove. In addition to their songwriting acumen, this helps separate them from the retro-metal pack even more. There is a hint of dark sensuality to their music.

“Heavy Blanket” opens with that aforementioned groove, bolstered by memorable organ playing by Sean Hur and a catchy chorus. It’s Deep Purple by way of Black Mountain. “Vast Acid” continues down the same path and is equally memorable in its own right. “Tomorrow Never Comes” is their big, slowed-down doom epic. Gentle acoustic strumming gives way to ominous chords from guitarist Johnny Scarps, and Taylor intones the song’s title several times over the course of its run time. It’s a slow-motion personal apocalypse.

“Demons” is an up-tempo rocker that references the proto-punk of the MC5, just as much as ancient heavy metal. Scarps unloads a ripping solo at its climax, foreshadowing his work on the title track that closes out the album.

The title track is an epic psychedelic-folk tinged number. It starts with gently strummed acoustic guitars and flute. It’s all very pastoral and lush. Scarps electric guitar comes in, adding another layer of sound to the song, with some fuzzed-out soloing that builds to a crescendo and ends in a swath of feedback. It closes out the album in grand fashion.

Valley Of The Snake, which follows a debut full-length and an EP, is the sound of a band coming fully into their own. It is a commanding display of hard rock mastery that will satiate all fans of proto-metal as well as snagging more general fans of the loud and the heavy looking for something slightly different. It is easily one of the best loud rock albums you will hear all year.

(Tee Pee Records, 200 East 10th Street, Box 155, New York, NY 10003)