Ryan Patterson takes us to the scene of the crime with a dark and mysterious debut
I have not felt this way in a while. But then again it has been years since I put on something like Sisters of Mercy and let an album burn through. It’s easy for Fotocrime. Three songs. A quick introduction. But those three songs burn white hot in its rigid and cold framework.
Ryan Patterson broke from a post hardcore lifestyle. Spending 12 years in the band Coliseum, he had the style down to a science. It suited him just fine. But, according to Patterson, an urge to move a different direction kept tugging at his creative strings. In 2015, he made that jump to Fotocrime. While painstakingly programming drum machines and crafting lyrics to accentuate the mood while maintaining his personal goals, these three songs were born.
The title track is a blend of red wine bottles and snarl. Rip the fabric and lash out at mortality because this song will make you feel immortal. How he warps the music around a mood is dominating.
What makes Always Hell enthusiastic is that the three songs flawlessly intertwine. “Plate Glass Eyes” is the winner in this race. A driving krautrock rhythmic pulse, the speed zone is wiped clean. Who cares about destination, it’s the RPMs of Patterson’s motive that fuels this song’s excitement.
The song ends with “Tectonic Shift,” which is the darkest of the trilogy. It’s classic darkwave dreamt up under neon lights. 4 am vocal chords. The bar closed down hours ago and the subways are empty. Bedroom corner concoction of personal intimacy, this song is simply radiant in hues of blues and greens. A perfect ending if you ask me.