Impressionable Tape by Crah: A Wild Ride Through Free Jazz and Avant-Garde Soundscapes
Released in 1998 on the Italian label Frigorifero Prod., Impressionable Tape by Crah is one of those albums that doesn’t just sit in the background—it demands your attention. Falling somewhere between free jazz, avant-garde, and abstract music, this record feels like a fever dream you don’t want to wake up from. It’s chaotic but intentional, experimental yet deeply human. And honestly? That’s what makes it so damn unforgettable.
Let’s dive into two tracks that stuck with me long after the first listen. First up, there’s “Attacco D’asma (First Impression).” The title alone gives you a hint at its intensity—this isn’t some mellow lounge number; it’s more like an asthma attack for your ears, in the best possible way. The track starts off with sharp, disjointed saxophone bursts that feel almost confrontational. You can practically hear the musicians daring each other to push boundaries. By the time the percussion kicks in, it’s less about rhythm and more about raw energy. This piece grabs you by the collar and shakes you until you’re wide awake.
Then there’s “Gotine Rosse,” which shows up twice on the album—once as “Gotine Rosse (First Impression)” and again in its full form. If I had to pick one word to describe it, it’d be unsettling. But not in a bad way! There’s something hypnotic about how the piano loops spiral out of control while eerie whispers linger in the background. Listening to it feels like walking through an abandoned building late at night—you know nothing good will come of it, but you can’t stop yourself. When the second version rolls around later in the album, it builds even further, adding layers of dissonance that make you question whether you’re still sane. Spoiler alert: You probably are, but only barely.
What really stands out about Impressionable Tape is how unapologetically weird it is. Crah doesn’t care if you “get” it or not—they’re too busy creating their own sonic universe. Tracks like “Devote Family Goes To The Parish” and “Sigla” keep things unpredictable, blending religious undertones with jagged improvisation. Meanwhile, “Maestosa Imperiale” offers a brief moment of grandeur amidst all the chaos, proving that Crah knows when to pull back and let the music breathe.
In a world where so much jazz leans toward safe, polished sounds, Impressionable Tape reminds us why we fell in love with the genre in the first place: it’s bold, messy, and alive. Sure, it might not be everyone’s cup of tea, but that’s kind of the point. Sometimes art needs to challenge you, to throw you off balance and force you to rethink everything you thought you knew.
And here’s the kicker—I haven’t been able to listen to any other music without comparing it to this album since I first heard it. Is that a compliment? Absolutely. But it’s also a warning: once you step into Crah’s world, it’s hard to leave.
