Drawing us in with an immersive, cinematic soundscape featuring a dark wave adjacency and dramatic guitar performance, FATECRIMES open BOTH ENDS with subversion and atmosphere as they share the lyrics, “Hello unwelcome visitor, haven’t seen you in quite some time, returned my inquisitor, absolve me of my crimes…”
We immediately connect with the poetic depth and metaphorical notions. The production is sublime and perfect for an underground rock show, or a poignant scene in a TV show like Euphoria, or perhaps Nine Perfect Strangers.
There is a dark psychedelic edge that also manifests, and in essence, the song reads like a confrontation between FATECRIMES and the concepts of judgment, accusation and control. The repeated “visitor” is an intrusive presence that keeps returning to enforce a painful narrative.
We love the vivid imagery of burning, stakes and curses and the duality of submission and resistance with the idea of willing to be sacrificed to preserve a larger “lie”. It gets pretty dark as FATECRIMES try to reclaim agency by destroying the metaphorical house and rejecting the cycle.
All in all, it is like a psychological struggle about shame, truth, and self-erasure under pressure from an accusing force that never lets go. This in itself feels highly zeitgeist and a reflection of society and a sunken place mentality as a whole. It’s brilliantly written.
BOTH ENDS comes with an epic music video set in nature with a visceral and rather literal representation of the lyrics. It feels like a movie in its own right, but would definitely also work in a film like The Craft or Forbidden Fruits.
Needless to say, we are literally obsessed, and have added BOTH ENDS to our New Music Spotlight playlist and our TIMELESS playlist, whilst we continue to stream the wider discography of FATECRIMES, including CHEMICAL DEFAULT, wanderlust, and Summer Thunder.