The music from Derek Stanton's Detroit basement studio is a vestige of Kraftwerk-inspired Motor City techno that, oddly enough, sounds like the Smiths. Under the pseudonym Turn To Crime, Stanton's written seven symbiotic structures that comprise his sophomore album Actions and mix of Euro electronica and Brit rock. Some of the tracks seem unfinished, as if they've left Stanton's laboratory prematurely, and others have enough notable moments to pass as songs.
"This Is What You Wanted" isn't a textbook opener. The suspenseful, extraterrestrial intro is attention-grabbing enough, but the ensuing five-minute techno loop and Stanton's monotonous mantra of "I got a love to carry / I won't let you down" makes it so outright boring it's borderline sadistic. This somnolence is contrasted by the record's far more exciting title track, which, despite its heavy language — Stanton puts "the whores at ease" — is a light pop tune with sparkling guitar hooks enlivening True To Crime melodies that sound like Morrissey when he's most depressed. "Light," however, is altogether quite miserable; it's dark and almost Goth or industrial with is creepy, metallic rhythms and slithery Mason vocals.
Stanton finally creates the right mix of electronica and rock toward the end of Actions. "Without A Care" features memorable melodies driven by techno-infused beats that might gain radio play (albeit on a local Detroit station). Generally, though, Turn To Crime's Actions is too inconsistent to be enjoyable.
(Mugg & Bopp Records)"This Is What You Wanted" isn't a textbook opener. The suspenseful, extraterrestrial intro is attention-grabbing enough, but the ensuing five-minute techno loop and Stanton's monotonous mantra of "I got a love to carry / I won't let you down" makes it so outright boring it's borderline sadistic. This somnolence is contrasted by the record's far more exciting title track, which, despite its heavy language — Stanton puts "the whores at ease" — is a light pop tune with sparkling guitar hooks enlivening True To Crime melodies that sound like Morrissey when he's most depressed. "Light," however, is altogether quite miserable; it's dark and almost Goth or industrial with is creepy, metallic rhythms and slithery Mason vocals.
Stanton finally creates the right mix of electronica and rock toward the end of Actions. "Without A Care" features memorable melodies driven by techno-infused beats that might gain radio play (albeit on a local Detroit station). Generally, though, Turn To Crime's Actions is too inconsistent to be enjoyable.
