Abe Vigoda aren't the most consistent of bands; after hearing all four of their albums, it's safe to say that they're subject to constantly change approaches. From the spastic no wave-inspired punk of Sky Route/Star Roof to the otherworldly, hyper-melodic, and difficult-to-place sound of Skeleton. Granted, Abe Vigoda do have recognizable elements in their music regardless of what release it is, but these elements aren't as pronounced as their Smell contemporaries like The Mae Shi, Mika Miko, or Foot Village.
Crush is a smaller change of direction in comparison to the transition from Kid City to Skeleton, and these newer sounds may be surprising to some, but this approach was hinted at on the preceding EP Reviver. Abe Vigoda go a frequently traveled road on Crush; a ubiquitous route in indie rock, even. Crush is an album that could be placed alongside the Joy Division-influenced post-punk revivalists while still alluding to the days of Skeleton. The slapback reverb of the guitars are still present, their previous melodic template is still intact-- but they incorporate drummer Dane Chadwick, who overlooks Reggie Guerrero's lively staccato rhythm patterns and instead replaces them with accessible dance beats.
These user-friendly excursions introduce themselves on the opener "Sequins" which left me with a severe case of apprehension for how Crush would proceed. Instrumentally, this isn't too far off from The Killers or even Coldplay, with a chorus melody comparable to a simplified rendition of A Place To Bury Strangers. Michael Vidal's baritone is at its most abrasive, and becomes more strenuous than passionate. The fist-pumping synthesizer chants and the distorted guitar washes of "Dream of My Love (Chasing After You)" give Crush the proper entering-a-club-on-opiates, dancefloor setting that it seeks out. This is hard to come to terms with, though, because of the anomalous placement its given as this album progresses. The jangly half-step melody and the unce-unce-unce rhythm section of the single "Throwing Shade" is, in all honesty, nothing we haven't heard before. We even stumble upon "Beverly Slopes," which from the very start comes off as an awkward attempt at covering New Order.
"Pure Violence" and "To Tears" are prime examples of this blend when done relatively well: both of which fuse a loyal revisiting of new wave with their own brand of reverberated motifs. This collision of ideas makes for a very lush, colorful atmosphere that many albums this year haven't achieved. "November" seems like it was clearly written during Reviver's gestation; the virtuous, dual-guitar melodies are present, and Chadwick attempts to emulate the shuffling drum patterns of past songs like "Live-Long." The title track also embraces Abe Vigoda's older works, even incorporating some punk squall reminiscent of No Age's Weirdo Rippers at times, yet gives a reminder of this inevitable new direction once the chorus makes its way into the song.
In a way, the title Crush represents my feelings of indifference about this album: I love many aspects of it, but as it is, this album and I were just not meant to be. Its main deterrence is its lack of sentimentality; an emotional impact is sought after in every track, yet is rendered unmemorable due to its constant reiteration. Though interesting at points, this is not a path that Abe Vigoda need to take. There is an abundance of musicians and bands that already portray this sound, and Abe Vigoda don't need to spare their once unique sound at the sacrifice of another.
[Abe Vigoda Myspace]
[Buy Crush from Bella Union]
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