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Delicate layers of distorted tones, coming on steadily... aural intricacies thicken, tracks double over in subtle harmonies, and ambient noises attain a hypnotic musicality. The tones employed evoke an eeriness at times, and yet it keeps pulling you forward...

Turn To Crime's songs are carefully crafted, raw riff-outs set to motorik beats, neither glam nor garage nor post-punk, but essentially a rock n' roll post-every-other-genre-you-could-name-drop, and that includes post-apocalyptic; it's as noisy and gnarly as it is uncannily appealing.

Are the clanging guitar reverberations and haunting monotone bass plucks of 'Impatience' as haunting as a John Carpenter soundtrack? Yeah, sure. But then those purring synthesizers, peaking and dipping like a curled mobius-strip, accommodate singer-songwriter Derek Stanton's characteristic high wavery-vocals and it just keeps pulling you, like a slow-motion close-up down a hallway toward the open door leading out onto the littered streets of a cloudy day in some weary-looking urban milieu... If you're seeing any scenery to Stanton's cinematic-sounding grime-rock, then it would have to be Detroit, where the former Awesome Color frontman was born and raised and from whence he wrote and recorded Actions.

But just when you feel you're propelled through some rubble-strewn, dystopic documentary film, he switches it up with rousing anthems, half space-rock velocity and half new-wave groove, with buoyant melodies and driving guitars, as with the rollicking beat of 'Without A Care' and the feather-footed percussion of the album's title track. Adorned with resplendent cascading guitars between verses, 'Actions' is easily the stand-out track. But before you think you've stepped into some cheery pop ditty, you bend your ear in closer and hear that compelling, creaky timbre of Stanton's vocal as it pairs up to the melody of that slinky synthesizer and you hear the poetic hit against hypocrisies... "Actions speak louder than words..." goes the swirling chorus, before he sets his sights: "All that fucked-up shit / goin' on in Detroit / you know we've got to get...get to the point..."

But back to that careful assemblage of eerie/cool ambiance... Stanton sets the mood from the opening track, 'This Is What You Wanted', with ominous drones and rattling, chime-like jitters from the guitar and synthesizer, swelling for a good 90 seconds as if it's the opening credits sequence, before a Kraftwerkian computer-fuzzed drum beat bursts in and Stanton affects a cool/caustic croon.

From there, like a subway train barreling steadily down a tunnel, it picks up sonic passengers, like a searing guitar, multi-tracked vocal harmonies, each element becoming more expressive, more guitars, coalescing drones, building, upward, forward, filling up the sound... distorting it ever so slightly, forward and forward, into a sublime cloud of reverb.

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