Crumb – ‘AMAMA’ album review: an intoxicating postmodern blend that sees the group push on
THE SKINNY: It’s rare that an album grabs you within seconds and maintains total immersion until the final microtones ring out. That is certainly the case with New York‘s Crumb and their third album, AMAMA. It makes good on the strides of their 2021 effort, Ice Melt, and sees them continue to stretch and morph their distinctive formula into unexplored realms.
The off-kilter blend of jazz-rock and psychedelic pop remains, but this time around, things are more mesmeric than ever. A truly postmodern record in the sense that it is an expert convergence of samples, effects, moods, genres and sentiments, it takes the listener on a compelling journey as it encircles them in a flurry of cinematic clangour. The dynamic and refreshing musical choices prop up songwriter Lila Ramani’s ethereal vocals as she guides us deeper into this compelling sonic otherworld.
AMAMA is also Crumb’s most energetic record yet. Hearing the band do something a little less languid is a welcome surprise. It is a wholehearted triumph that the quartet have managed to enact such an affecting shift in gait without losing sight of their potent dreamy aspects. Instead, they augment them by twisting them through this prism of new influences.
In upping their game, which fans would be forgiven for thinking was nigh impossible to do after their last album, it makes for a highly compelling record, with Ramani, keyboardist and saxophonist Bri Aronow, bassist Jesse Brotter, and drummer Jonathan Gilad all pushing on further down their path. The group have always charted their own course, and with the latest effort, they produced yet another compelling chapter in an already acclaimed tale.
A near-flawless record that arrives at the ideal time as the nights stretch out and the heady scent of summery flora returns, it is the fitting soundtrack for everything the year’s best period offers.
For fans of: ‘Grass then beer and being in the clear’, Primavera Sound and balmy summer nights on the continent.
A concluding comment from your local art student: “Yah, yah, this is epic, like Eno doing Ulysses on ganj.”
AMAMA track-by-track
Release Date: May 17th | Producer: Crumb, Johnscott Sanford and Jonathan Rado | Label: Crumb Records
‘From Outside A Window Sill’: A convergence of spacey acoustic guitars, a jazzy beat and heady keys, the opener instantly pulls you in, suspended. It’s the sound of falling backwards into dreams, comprised of Ramani’s haunting vocals and swirling electronic textures à la OK Computer. [5/5]
‘Side By Side’: One of the undisputed highlights of AMAMA, the second stop opens with a dancey beat and a direct vocal performance from Ramani. Tapping into the electronic side of shoegaze, it’s another flawless effort from the quartet. The moment it breaks is a stroke of genius, with that melody utterly exquisite. [5/5]
‘The Bug’: Another heady moment, the crawling bassline and pacing recall vintage Crumb, providing a competent twist, confirming that the band haven’t lost sight of themselves. The chorus is also an earworm, with Ramani singing, “It’s just always on my mind”, which will no doubt be piped back by fans live. [4.5/5]
‘AMAMA’: Opening with a sample of a woman singing, in light of the spirit of the record, you have no idea where you’re about to be taken before the groove kicks in, and a compelling vocal melody drives itself straight into the prefrontal cortex. The bassline is also absolutely fantastic on this one, with Brotter markedly understated in the conversation surrounding contemporary four-string maestros. [4.5/5]
‘Genie’: When likening the record to the perfect soundtrack for balmy summer evenings, this is one of the numbers that typifies the sentiment. It washes over the listener throughout its near-six-minute duration, with the beat, bassline, and Ramani’s vocals linking up with force. Again, the basswork is tops here; the attitude-laden, swollen groove is pure quality. [4.5/5]
‘Crushxd’: An energetic number that sees the group lean heavily into their jazz proclivity, the drums are particularly expressive, with the rings of the cymbals, rim shots, and general syncopation with the rest of the instruments another slice of artistic verve. Furthermore, the fast-paced and somewhat disconcerting string motif that links up with the beat demonstrates the essence of the band pushing themselves with AMAMA. [4.5/5]
‘Nightly News’: A short, spacey interlude that could quite easily have been a film soundtrack in the 1980s, it’s a pleasant surprise, prompting enough trepidation that even Super Hans would have been happy with it. [4/5]
‘(Alone in) Brussels’: A psychedelic track where the locomoting rhythm section props up the vocals, wistful strums and glistening keys, it’s one that longtime fans of the band will be all over, composed of yet further potent melodies that prop up the general spacey feel. [4/5]
‘Sleep Talk’: As the title aptly conveys, this number ranks among the most mesmeric found on AMAMA, and while it’s one of the shorter ones on the album, it contains enough to keep us fully immersed. Boasting guitar and vocals sounding straight from the belly of outer space, another languid groove, shimmering keys and a warm bassline, it’s brilliant. Additionally, the changes in rhythm and energy that arise in the second half resoundingly transmit how Crumb are a band not satisfied to rest on their laurels. [4.5/5]
‘Dust Bunny’: One of my favourites on AMAMA. The convergence of all that makes Crumb so excellent occurs here, creating real fire. From sampled breakbeats to ethereal vocals, the postmodern essence of the group rings true, with the melodic shift at the end as full-bodied as they come. [5/5]
‘Swarmed’: An atmospheric piece of ambient, this short interlude fittingly sets up the final piece of the puzzle with icy synths and a narcotic sampled beat. Liquid ketamine. [4/5]
‘XXX’: A classic final track underscored by the delayed, effected hits of what appears to be a piano sample and featuring an ice-cool guitar line, once more Crumb throws everything at the listener and creates a profoundly postmodern potpourri of textures and moods. [4.5/5]
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