As part of a touring husband and wife duo, I feel a sense of solidarity and admiration for this married couple from Presque Isle, Maine who have been hardcore touring and releasing music as Crunk Witch since 2008 or so. I grabbed their last release Legend of the Manicorn when our touring paths crossed one heady summer’s night in New York City and have been a steady fan since. The hi-fi precision on their production actually comes through live, Hannah Colleen rocking the beats live with aplomb while singer/hubby Brandon Miles blows the box apart with his huge, stunning voice.
Having talent and creativity to spare, this new album shows a new level reached, a plateau where Crunk Witch have reached a commanding zenith of the electronic rock drawing in everything around it like a giant, rock and roll tornado. Epic opener “Star Spangle Bang” drops some heavy 140bpm triangle wave dubstepped chorus that clicks easily into first a jazzy electro walking bass then a Bowie-esque piano drop hammers us back into the first motif.. it sets a pace that doesn’t let up for the whole album. “Undercover(s)” sets some angelic pads into a 50s doowoop progression on top of which Brandon really shines, a belly-deep and dramatic vocal performance. We turn to darker modes after that, “Diamonds in Death Lock” paints it black with a gothier texture, sliding into a screaming breakdown stabbed by electronic drum fills and 80s reverb. From there we segue into the pounding and awesomely titled “Glocktopus” the vocals of which remind me of Perry Farrell (in the best way) and slays me with that huge huge bassline! “Scream Love” and “Lightning Bolts Aligned” kind of hit a plateau, the transcendant peak of the album and we start the slide down the other side with the unsettling momentum of “Upside Down Safari” which carries shades of dancehall riddims of the 90s and Turkish traditional music. The descent continues on the dank dubstep of “The Grim Raven” and the lushness of “Tentacle Serenade”, which could raise Cthulhu himself. “Kill Phil” takes a sudden, surprising turn into a desert-rock electro thing that could have been an out-take from a Kyuss record and finishes on a majestic, blast-beat and scream laden salvo on the deliciously dark “Fear the Golden Dawn”.
Crunk Witch have really found their stride on Faith In The Thief , it’s a big sound that showcases a mastery of production and vocal fireworks while still being decidedly unwanky and interesting to either sit and listen to or mosh about like a fool. They are pushing further on this release than their previous and have this ability to absorb any musical device, current trend or not and make it totally theirs. Live, Crunk Witch are also true road warriors and performers, so make sure you catch them on tour!
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