Ryan Patterson has been keeping busy over the last few years, as not only has his solo project Fotocrime put out material regularly but he’s been a part of Mirrorless and even reformed Coliseum. Coliseum first returned as C.L.S.M. where they dove back into their more aggressive hardcore roots but would also release a new single under their full name in 2024. With that activity happening I wasn’t sure where this put Fotocrime following their 2023 effort Accelerated, but this year’s Security showcases it is just as much of a priority for Patterson. Where the previous material was synth dominant and captured synthpop, darkwave, and post punk, Security injects more aggression into the mix and opts for a more guitar forward sound. It feels like a natural infusion of Fotocrime’s established sound with the additional influences that shaped later Coliseum albums, and the material has hooks that will keep you invested from beginning to end.
Where some of Fotocrime’s past material fell a bit flat for me was the uniformity of the rhythms and emphasis on slower tempos, particularly on the first half of South of Heaven. Things have gotten more dynamic over time, and the injection of some more post punk and hardcore elements on Security make a significant difference. Opener “Crimewave” makes it clear you’re in for a very different sound, but one that still complements what Patterson has done before. The synths are there, but they’re used as more of an additional texture and the guitar and bass drive things forward with a swagger that falls somewhere between punk and rock ‘n roll. Other tracks lean more into the post punk and industrial rock side of the spectrum, with songs like “Shockwave” utilizing melodies that recall the post punk and new wave heaviest sides of Killing Joke. I’m particularly fond of “Unthinkable” and “Intimidation”, which really let the aggressive side of the instrumentals shine and find that perfect balance between the shimmering melodies and scrappier punk foundation. But there’s a consistent flow and quite a bit of variety for the album’s entire run, which provides plenty of highlights throughout. There are a few songs that actually feel a little too brief and could’ve been expanded upon further, but Security does such a great job with the way that it blurs the lines between all these different genres that you can’t complain too much.
Part of what drew me to Fotocrime’s in the past was Ryan Patterson’s singing, as he has a grittier tone compared to what is normal for the genres the band was pulling from. Early on he had a bit more of a subdued approach, but Security has more of the fire and energy that drew me to Coliseum albums like Sister Faith. This really makes songs like “Plowjob” and “Intimidation” stand out more, but even the more subdued moments like the title track pull you in with the type of narrative Patterson is weaving. There’s a slew of guests spread throughout the material, ranging from members of Sumac and Young Widows to Barney Greenway from Napalm Death. Rather than letting the guest spots overshadow the core songs they are implemented in smart and subtle ways, and “Unthinkable” is a great example. Here Patterson duets with Young Widows’ Nick Theinman on the choruses, and Barney appears near the end to add a harsher passage that may catch you by surprise on the first listen.
Compared to Fotocrime’s past material, Security has a greater sense of energy and tempos that reflect that. The guitar and bass now drive things forward with the synths still providing a lot of additional character, giving the sound equal amounts of post punk and rock ‘n roll alongside the hints of industrial and other electronic styles. It feels like the biggest overlap between Patterson’s later work in Coliseum and what Fotocrime has done since its inception, but this hasn’t caused the project to lose its identity. The songwriting really grabbed me on this one in ways that will have this album on repeat for a long time, and it leaves me interested in how both bands may co-exist down the road. Security is available from Artoffact Records.
-Review by Chris Dahlberg
