Exploding with melodic and pummeling industrial-tinged post-punk, Louisville dark punk stalwarts FOTOCRIME erupt in an unexpectedly aggressive tone on Security. Few bands sound this immediate and energized on their fifth album, yet Fotocrime tear through Security’s ten songs in just over thirty minutes with a surprising fervor. This more guitar-driven direction may seem like a pivot, but to those in the know it’s inherent in Fotocrime leader Ryan Patterson’s musical history and DNA.

Patterson is a musician, producer, visual artist, and creative force behind Coliseum, Cat Magic Punks, Black Cross, and Shirt Killer, amongst many other bands and endeavors. Formed in 2017, Fotocrime have released five EPs and four albums, and on their fifth LP Security, Patterson is joined by new members Benjamin Clark on guitar and David Cundiff on bass. The album features appearances from drummer Jay Weinberg (SLIPKNOT), legendary vocalist Barney Greenway of NAPALM DEATH, Aaron Turner (SUMAC, ISIS), Brian Cook (RUSSIAN CIRCLES, BOTCH) and a cavalcade of veteran Louisville artists. Musician and noted producer J. Robbins (JAWBOX) also performed on several tracks and traveled to Patterson’s studio, the House of Foto, to co-produce, engineer, and co-mix the album.

Filled with tales of overblown machismo at the nuclear chess board, mental instability in a time of crisis, and honest living in a corrupt world, Security is rife with sentiments of paranoia and impending doom. But unlike post-punk greats Killing Joke, Fotocrime never go full conspiracy theorist or espouse theories on the alien civilizations that built ancient Egypt. Security is very much influenced by Jaz Coleman & Co., and it serves as a celebration of that band’s musical output, alongside other recently passed heroes. “Killing Joke, Big Black, and Hot Snakes– these were all bands that all had musicians that passed away recently,” recalls Fotocrime frontman Ryan Patterson pensively. “Geordie Walker, Steve Albini and Rick Froberg were all so crucial to my musical growth, so I wanted to put these influences forward and channel them as much as I could, as opposed to keeping them in my back pocket and letting them manifest in less obvious ways.”  

On Security, the band eschews their previous approach for a more aggressive and furious tone, one that matches the aforementioned bands along with the man-vs-machine churn of Godflesh and middle period Ministry, the down-picking stylings of The Marked Men, and even the anarcho leanings of legendary bands like Crass and The Mob. Historically a synth-forward band, these influences come to the forefront to reveal a new era for the Louisville, KY favorites. “There are synth textures, but for Security we had a different sort of goal,” explains Patterson. “We recorded most of the music live, and what you’re hearing is primarily guitar, bass, and drum machine. There are plenty of Soviet-era analog synths on the album, but not anywhere near the amount that there has been with Fotocrime previously.”