Caffeine is not needed to enjoy this album; Adam Carpet is caffeine. Two bass guitars, two drummers, 65dos-electronics and a projection screen make for an energetic sound and stage show. As evidence, check out the video for “Babi Yar” (below), whose selection and speed of images make it seem like a cross between Baraka and A Clockwork Orange. If entranced by these visuals, one might momentarily neglect the notice the sweet surge of guitars at the four-minute mark, which raises the level a full notch; or the intricate interplay between the performers, who have many components to juggle and no room for error.
Before we get to the music, it’s important to note that the mastering is superlative: crisp, full, and brilliantly designed for stereo enjoyment. The music seems to leap from the speakers and begs to be blasted from a car stereo. One also imagines it would sound amazing in the setting of a large club, or of course in a concert hall. But where this instrumental rock music differs from the majority of what we review is its shot at the big time. This isn’t post-rock; the slower sections tend to last less than 30 seconds. And while creative, it’s not the type of foray that makes fans raise their eyebrows. Instead, it’s a setup that attempts to blend the past and future of rock instrumentalism, and succeeds through verve and the aforementioned energy.
Two singles have already been released: the patiently building “Babi Yar” and the album’s longest track, “I Pusinanti”, which clocks in at a second under seven minutes. While the grooves of the latter piece are perfect for clubs, thanks to a Duran Duran-esque bassline and a sweet glaze of 80s synths (and can you imagine a remix with those drums?), the half-title track “Carpet” may be the selection best suited for radio play, thanks to its spy movie vibe and atypical trajectory. At 2:28, the brief roar of an astonished crowd leads to an unusual and endearingly beatless breakdown; then at 4:26, the track turns mellow. This sense of fun continues across the album: sweet rolling drums on “Krokus’ Magnet Store”, a savage sax squall on “Jazz Hammerhead”. Adam Carpet is engaging and forthright, eager to entertain, and consistently winning. Moody fans need not apply; those looking for some action are definitely invited. (Richard Allen)