Gothic Rock | Post Punk | Wave & Alternative

Fotocrime – Duplicate Days (Official Video)

Review

MUSIC & FEELING
9,25/10
PHOTOGRAPHY
8,25/10
TECHNICAL & AUDIOVISUAL
8,75/10
HD QUALITY
9/10
Overrall
9.0/10

Fotocrime is the new group led by R. Pattern (aka Ryan Patterson, formerly of Coliseum) and including Nick Thieneman (also of Young Widows, guitar) and Shelley Anderson (bass). After over a decade as the singer-guitarist of post-hardcore trio Coliseum, Pattern forged ahead on his own with a new vision, sound, and moniker: Fotocrime. Backed by danceable, battle hymn drum machines and layered synths, Fotocrime brings a monochrome clarity to its electronic meets-organic post-punk with driving bass, single-note guitar work, and Pattern’s unmistakable drawl.

The Always Night 12″ EP on Golden Antenna Records follows Fotocrime’s self-released Always Hell 7″, which was issued in early 2017 and quickly sold out of its limited edition pressing. In addition to two songs from the 7″ (Always Hell and Plate Glass Eyes), Always Night features three new exclusive tracks and a remix by Ben Chisholm, producer and multi-instrumentalist for Chelsea Wolfe. All songs were produced by Pattern’s longtime collaborator J. Robbins (Jawbox). Openers Duplicate Days and At Play In The Night Tide expand on Fotocrime’s dark post-punk sound with expanded melodic sensibilities and Thieneman and Pattern’s guitars interweaving alongside pulsing synthesizer sequences. The Trance Of Love enters new territory altogether, introducing the band’s first entirely electronic music (showing hints of early German EBM influence) and stark backing vocals from bassist Shelley Anderson.

The collection is rounded out by Tectonic Shift (Continental Mix) a remix and reconstruction by Ben Chisholm, known for his role as Chelsea Wolfe’s longtime bandmate, producer, and multi-instrumentalist. Chisholm’s lush arrangement features Pattern’s dark Leonard Cohenesque vocals riding along a wave that crests and descends into darkness. Always Night is a menagerie of trenching musical interplay and synthdriven melodies, all preaching in a darkness that is both inescapable and spellbinding. Forging a connection between the shadows of the underbelly of the mid-century American Dream, the ghostly corners of postwar Europe, and the present moment, Fotocrime breathes new life into Cold War paranoia, modern-day malaise and smoky noir.

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