Crows – ‘Reason Enough’ album review: refined and to the point
THE SKINNY: Crows have been one of the most accomplished bands in the UK for the best part of a decade now. A true cult band with a dedicated fanbase, constructed on their frenetic shows and bolstered by their first two albums, 2019’s Silver Tongues and 2022’s Beware Believers, they have always been an outfit, that, despite their authentic punk leanings, have always seemed destined for a bigger stage. On their third album, Reason Enough, they produce yet another accomplished effort, which steers them in a slightly different direction, with refreshed potency and a refined character that sees them take things up a notch. Surely, now is the time for them to reap what they’ve sowed; the latest album emphatically displays why they’ve been underground favourites for so long and their broad pull.
One of the great things about Crows has always been that each member, vocalist James Cox, guitarist Steve Goddard, bassist Jith Amarasinghe and drummer Sam Lister, work cohesively as a unit, with all the boxes ticked, and everyone bringing something vital to the fold, propping up the collective energy. Collectively, for their third album, they knew they had to do something different, and they’ve succeeded in doing so. While their previous two albums were excellent, the maturity of this one can only stand them in good stead for the future, where I hope they finally start to get the broader plaudits they are well overdue.
Crows are still the same band, but they’ve distilled every aspect. Cox’s political and personal ruminations are particularly affective, as are his weaponisation of melody. Goddard’s guitar is more direct than ever, with the riffs excellent, and the use of dissonance and texture adroit. Amarasinghe, an overlooked contemporary bassist, who has consistently crafted robust lines, does so with aplomb again, with a newfound, de-turned character, and Lister holds it all together with rhythmic dynamism, demonstrating again why he and Amarasinghe are a compelling duo, the glue that holds Crows together.
Although there is still a narcotic aspect to the new songs, the group have made them more effective, anthemic and concise by teaming up with revered producer Andy Savours, who has brought not only years of insight but a sheen to their established sound. This concentration on pushing their formula forward, taking more time to work on material due to extra-musical circumstances, and the presence of Savours has created a record in Reason Enough that will earn the band new fans, and ask many exciting questions about where they might go next.
For fans of: East London, Black Dr. Martens, and screaming back the chorus in a room full of silent and uncomfortable-looking audience members.
A concluding comment from a vague university acquaintance: “Crows, are they still going? I remember watching them at The Shacklewell Arms in 2016. Haven’t been there in years since I moved to Brockley. Are you still doing some writing?”
Reason Enough track by track:
Release Date: September 27th | Label: Bad Vibrations | Producer: Andy Savours
‘Reason Enough’: Kicking off with a commanding bassline, a slow beat and the percussive hiss of the guitar, it’s an album opener that immediately grabs your attention as Crows slowly impress themselves upon you, and the song builds to its muscular ending. [4/5]
‘Bored’: Utter class. Bursting through the speakers, this second stop and lead single keeps you immersed, as Cox lists all the factors contributing to his frustration with the contemporary malaise. The chorus and Goddard’s busy six-string work are both excellent. [4/5]
‘Is It Better?’: Fusing heaviness and melody, the third juncture is a more emotive moment. Whether it be the choppy guitars, animated bassline, or the enormous chorus, this is Crows to a tee. It fits perfectly with their new chapter and older material, as Cox asks some important questions. The guitar work is once again brilliant. [4/5]
‘Vision Of Me’: A piece of gothy post-punk, led by Amarasinghe’s direct bass work and another potent performance from Goddard, Cox supplies one of the album’s stand-out vocal and lyrical turns here, as he gets personal while offering broader questions about human nature. “I need a break from this reality / and it seems like you do too,” he pertinently sings. [4.5/5]
‘Land Of The Rose’: Halfway through, and we land on what might well be the finest track on the album. The interplay between the gritty bassline and Lister’s authoritative snare smacks ballasts this one, as Cox is as commanding as ever, and Goddard jumps between dissonance and viscous chords. Striking the perfect balance between heaviness and anthemic, this one typifies the new chapter of Crows. [4.5/5]
‘Every Day Of Every Year’: Another cut that opens with an active beat and direct bassline, this one gets pretty expansive when the enormous clangs of the guitar pierce the mix. Direct and assertive, the lyrics and chorus will be stuck in your head for quite some time following the first listen. [4/5]
‘Lie To Me’: In a record brimming with big choruses, Crows provide yet another one to add to the collection. A song that takes a more subdued, melodic tact that some might suggest bears some resemblance to early Editors, the quartet are truly refined here, and exhibit their major league chops beyond any doubt. [4.5/5]
‘Living On My Knees’: A true groove. Somewhat harking back to the band’s debut, Silver Tongues with the riff, beat and Cox’s delivery, it’s also demonstrative of this latest, burnished sound. The chorus line, “You’ve got me living on my knees / got my neck under your foot now,” is fantastic and works perfectly amid the general sonic character. [4/5]
‘Silhouettes’: A resounding penultimate number, where together, each band member adds to the tangible atmosphere. From the bassline to the hypnotic guitar lines, it has everything that makes Crows so great, and why this new chapter promises to be the one that takes them to the place where they’ve always been destined to reach. [4.5/5]
‘D-Gent’: Do not be fooled by the title of the final track, there are no Nordic, brain-splitting metal riffs here. Instead, it’s a deeply arresting psychedelic groove, featuring Cox’s final philosophical ruminations, which are, in true form, noteworthy. [4/5]
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