"[8] Snail cites Lou Reed as her biggest musical influence, in particular his albums Coney Island Baby and Rock and Roll Heart.
She also credits Brian Eno, T Rex, Patti Smith, The Kink Kronikles, and The Troggs Tapes as significant influences.
[10] In 1987, she began jamming with other musicians in bars, including Fly Ashtray in The Bronx and soon branched off on her own to record solo music.
[3] Though she has never used hallucinogens since, she says, "I'm a big believer in Timothy Leary and Aldous Huxley and a lot of important philosophers who have all taken drugs to expand their horizons.
The albums generally featured several guest musicians, but Snail played most of the instruments herself, including guitars, zithers, keyboards, theremin, and percussion.
It included Jeff Levitz on guitar and bass, Kevin Litrow on guest vocals, and Taylor Wheeldin on trumpet.
Described as "a tribute to the spaciousness and atmosphere of the celestial beyond & within", it featured the tracks Solar Riser, Space Heater, User System, Fallen Down, and Burnt Cookies.
[13] Left Hip Magazine's reviewer Michael Byrne described Celestial Respect as "a hopeful space pop melodrama that seeks to reignite human kindness through music that feels and sounds electronic and mechanical, creating an intriguing dichotomy to muse over while listening.
"[14] In November 2017, Radio SiriusXM debuted Azalia Snail's cover of Tom Petty's classic track The Wild One, Forever.
"[17] Abstract Analogue said it had "the perfect measure of everything to make it soar and add to the tally of outstanding songs here that will stand the test of time.
"[18] Raymond Cummings of Splice Today wrote, "At its most beautifully gauzy, Neon Resistance plays like an extended hang-glide over canyons of warm, gooey, dreamy good feeling.
It was described as her "musical response to a world navigating through uncertain times, offering melodies that promote kindness and redemption" and evoking, as she put it, "an urgent plea for humanity to be kinder.
"[20] While residing in New York City in the 1990s, Snail first collaborated with filmmaker Sadie Benning to score the music for a video shown on MTV.