by Ryan Martin (@ryanwhowrites)
NNAMDÏ’s latest effort, released less than three months after BRAT, is a 20-and-a-half-minute mind-fuck that displays the core of his imaginative genius. Inspired by Looney Tunes and Merrie Melodies composer Carl Stalling, it takes what made Stalling’s music fun, inventive, and exciting, and makes it darker, weirder, more experimental, psychedelic, and overall braver. All while still retaining the fun and inventiveness that made Stalling’s music so impactful.
However, fans of Looney Tunes and Merrie Melodies music who are looking for a fresh breath of air might be taken aback. KRAZY KARL sounds like an episode of Looney Tunes where your favorite characters do drugs, overdose, are brought back to life by other looney tunes, sob uncontrollably, realize how beautiful life truly is, and finally, ascend to the eternal light. It’s all still kinda funny. Mostly instrumental, KRAZY KARL jumps all over the place, sonically and instrumentally. It’s hard to not remind yourself that NNAMDÏ did this all himself, except for some breathtaking string contributions.
It’s also hard to imagine this record without the strings and horns. NNAMDÏ pays stunning homage to Stalling’s work, utilizing big band aspects to give it the cartoonish feel that helps make the music more sinister and comedic at the same time. There are minuscule moments that feel all too familiar that really highlight the impressive appreciation for Stalling and attention to detail. Horns add a layer of diversity that can make the music feel equally calm and rushed. Moments where the horns are droning but the drums are hammering in your head like a power-drill with an extra surge of energy.
NNAMDÏ’s guitar playing too is impeccably wonky and bouncy. Although, there are moments like the closer “Pray Tell” where he delivers a godlike solo with a tone that sounds like a staple in 80’s hair bands. It gives us a potential insight into the kind of cartoon inspired music NNAMDÏ will make next: music for Sonic the Hedgehog to sacrifice himself to save his friends to. Which, just for clarification, is a good thing. It bangs.
NNAMDÏ’s drumming is the backbone of the project, however, it’s difficult to find yourself being able to focus on just one instrument, as everything is so tightly packed and in sync. At times, I found myself comparing KRAZY KARL to the crazier Thundercat tracks like “Uh Uh” and “How Sway.” What changed my mind is how much NNAMDÏ is able to do in a track roughly around the same length as both of those tracks. He lets it grow in different directions and expand beyond its initial statement that gallops over Thundercat’s straightforward jams.
Taking dips into different feelings and sounds, NNAMDÏ’s vocals add a layer that helps soothe the beast he’s created. It feels gorgeous, terrifying and hilarious all at the same time. There will be times where it puts you in a safe, relaxed spot then rips you out and throws you into a neon-colored black hole. His drumming highlights a start-and-stop rhythm where instruments freak out on top. It feels impossible to imagine jamming to this record without listening to it incessantly. It’s moments like these where NNAMDÏ is painted in his artistic prime, completely in his own element, and unrivaled as a solo artist. He is spoiling his fanbase with free gifts right now, and it’s as good a time as any to join the winning side. Wherever NNAMDÏ may go next, it’s worth your time and attention. He’s earned it.