AMCA are operating at a slower pace these days, but Sally Rodgers' voice is as sublime as ever
Many ravers of a certain age will have been as delighted as this reviewer was to hear news of a new A Man Called Adam album: after all, it's been over 20 years since we last heard much from the duo whose 1991 debut album The Apple soundtracked so many afterparties and comedown sessions during the rave era. So with expectations high, can Farmarama cut the mustard in 2019?
For long-term fans, the answer to that question probably depends on which of the band's two previous studio albums floated your boat more. If you're looking for the same combination of dancefloor euphoria and quieter, more contemplative grooves that characterised The Apple, then it has to be said not everything here is going to set your world fire. The tempo on Farmarama seldom lifts above walking pace, and on tracks like neo-classical/ambient piece Top Of The Lake, which arrives halfway through the double vinyl set, or the Arabic-tinged TicToc, the duo's recent exploration of more abstract/experimental sounds (under their Discrete Machines alias) has clearly had an impact, and you may find your attention wandering in places. If, on the other hand, 1998's more laidback Duende was more your cup of tea, then you should find Farmarama suits you down to the ground.
That said, Sally Rodgers' sublime, haunting voice remains in as fine fettle as ever, and to be honest when you're talking about AMCA that's half the battle won already. So overall, that's a thumbs-up from this long-term fan, but let's hope some of these tracks get given the dancefloor remixes they so richly deserve.
Words: Russell Deeks
Release date: 8 March
Review Score: 7