4/1/2023 0 Comments Crumb band![]() ![]() Speaking to Rolling Stone, bassist Jesse Brotter revealed one of the more curious advances: “We’d take a microphone, put a condom on it, put that in a bucket filled with water, and then play a sound source at the water, so you would get a slight underwater effect that you could merge it with the original sound source.” The punch-drunk panning of Bri Aronow’s synth work on “Gone” and “Up & Down” sounds like an obvious success story here. While the thrashing, high-gain climax of “Tunnel” sounds like a band briefly weary of nuance, the empty drift between “Seeds” and “L.A.” feels like forever. With Foxygen’s Jonathan Rado co-producing, Ice Melt pushes the band forward with more lucidity and more manipulated space. Beyond a general air of cosmic longing, aided by violinist Maeve Feinberg on songs including “Gone,” Crumb zone in on the low-key doom they have always dabbled in. Highlights here like “Up and Down,” a helter-skelter of slinking arpeggios with hat-tips to the golden era of trip-hop, support the position. Crumb have distanced themselves from being a band that makes music that simply wafts in and out of the room on a lazy afternoon (“I wouldn't want to chill to our music,” singer-guitarist Lila Ramani told Pitchfork in 2019). “Ice Melt” captures the singular unease of coming up in a bad frame of mind. “Trophy” calls to mind sudden vertigo that won’t shift. Even at its most blasé, Crumb’s music can sometimes feel, well, dreadful. After a couple EPs, they flourished in the softly lit chasm of their debut-now Ice Melt captures a band breaking free of the trance for a little more clarity. Before forming at college in Boston, the Brooklyn-based quartet honed their chops in low-profile jazz, soul, and rock groups. On their 2019 debut, Jinx, Crumb slowly lowered dazed psych-rock into a loungey abyss, evoking the feeling of one long summer day spent entirely inside the endless buzz of an anxious mind. ![]()
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