bITS 'N CHUNKS
I detailed my first Fotocrime concert a while ago if you'd like to check that out; and I hope to go to another soon... meanwhile, as I wait patiently in my little lace gloves and my aviator shades, Fotocrime released their debut album! Check it out on Bandcamp above. On the heels of their Always Night EP featuring excellent tracks such as "Always Hell" and my favorite "Duplicate Days", looking at the cover of Principle of Pain I could sense this was going to move away from the punky moodiness of Always Night and into proper post-punk territory...
Indeed, this album is a lot darker, a bit clean, and pretty damn coldwave anchored by R's strikingly vulnerable baritone vocals sliced with Shelly Anderson's drowned siren call.
I could tell you what it sounds like if you need that -- a little mid-period Sisters of Mercy, a little Pink Turns Blue, a little Clan of Xymox. It bridges the gap between Coliseum's Anxiety's Kiss and the ridiculously danceable "Trance of Love" in a way that makes sense, which is a little frightening. But, I let myself enjoy this over a period of weekends because I was so hype for this album that I backed it on PledgeMusic. Not to brag, but I stand outside my mailbox awaiting my vinyl. Someday...
Anyway, adjectives like moody and dark get thrown about way too much in goth and post-punk because I suppose that's the point, but when I tell you the drums and bass featured here will crush your spirit and your heartache I want you to listen to "Love In a Dark Time" and believe me. I've seldom heard work so open and vulnerable to loss, longing, and pain. The guitars slink, both seductive and already burned. The gravel and clean vocals flit between hesitancy and resignation. It works. It's very evocative of the genre and maybe leans on it too much, but it works.
In the future, I'd like to see a little more of the duet action and a bit more variety in vocal melody. Unfortunately, the same or similar vocal phrasing will make songs sound a bit, well, samey. But I'm confident because I know R is capable of a lot, so hopefully we get to see him flex soon. I'm confident about the whole project and I'm glad, in this sea of synth and darkwave, to see my mode of guitar-based goth slowly dragging its way back up to the surface. Other standout tracks for me include the dark, cobweb-riddled club ready "Gods in the Dark", the rueful reminiscence of "Don't Pity the Young", and the sweet antipatriachy sounds of "Nadia (Last Year's Men)". Lift us up, break us down, and let's do it all again soon!
Ia! If you've come this far, you're either looking for weird or you know you've found it...