Abe Vigoda - Crush

It was the Studio 54 bass and synth-ridden ‘Throwing Shade’ where we first heard what Abe Vigoda now appear to be aiming for; the new-wave influence and 80s pop they have always nodded to rising to the surface. They haven’t drifted too far from the template, though - take away the sampled beat and synth half way through, and we might very well be listening to previous long player ‘Skeleton’. The same accusation, being honest, could be said of much of their latest effort ‘Crush’.

Where ‘Skeleton’ had a clear direction and the more recent ‘Reviver’ EP showed a glimpse of progression, this album feels less cohesive, almost as though the band want to try new things but are still hiding behind their tried and tested guitar tones. New drummer Dane Chadwick has brought some changes to the table however (bye bye afro-beat drums, hello a more conventional style), and Michael Vidals’ new vocal style is also worth noting - more brooding in nature, but often sounding like he’s trying a little too hard to be David Bowie or Robert Smith than was apparent in the reverb heavy yelping of yore.

Opening track ‘Sequins’ kicks off with a fast paced delay, followed by their new found love of keys, which work their way into the Abe Vigoda clatter. Half way through the record, ‘November’ – a song that entered their live set in 2009 - again recalls their debut, while the title track kicks off with a Sonic Youth-esque intro that is again followed by their new best friend, the synthesizer. The ‘Most Potential Award’ goes to penultimate track ‘Beverly Slope’ - a whispering vocal over a shoegazey guitar tone, it’s less new wave, more cold wave - whilst ‘To Tears’ is another clear highlight.

Less a reinvention, more an evolution, these changes give the band a slight edge over some of their fellow downtown LA contemporaries; hopefully there’s much more to come.