Reported to be the most decadent band around the Paris area, with all the compulsory allusions to sex, drugs and shock rock, CRACK OV DAWN have been polluting the glam scene since early 2002, inspired by Gothic Glam, decadent modern rock and the Punk/Shock Rock school of the ’70s.
With Dawn Addict, where originality does not seem to abound, francophone CRACK OV DAWN present us with all of that plus the usual Psychotic TV clichés, and of course “ov” is a must-have. Not even a version of U2’s “Pride (In the Name of Love)” escapes the fate of the ov domination. As regards lyrics, the content is pretty much stagnant and could be summed up in the simple phrase “I wanna fuck you, I wanna kiss you”, in a sado-masochistic duality that pervades the album.
On the vocals department, occasional journeys through recent years’ MARILYN MANSON are a constant, accompanied by either frenetic or hypnotic rhythms. Also easily to be found are the likes of MURDERDOLLS or SEX PISTOLS. The attempt at shocking with semi-electro beats and rhythms is not decontextualized, particularly bearing in mind the names of the musicians – as ridiculous as unoriginal: Britney Beach, Xander Xanax, Mallaury Murder, amongst others.
Noteworthy is the participation of an ANOREXIA NERVOSA member. Overall, Dawn Addict leans too hard on the shock effect to a point where originality and independence almost cease to exist. It is actually not like the intention is bad, but the realization leaves too much to be desired.
Myspace Crackovdawn
Cover Crack Ov Dawn – Dawn Addict Front
Crack Ov Dawn – Porn Junkie
Additional Information
CRACK OV DAWN emerged from Paris’s underground shock rock scene during the early 2000s, when French alternative rock was experiencing a revival of interest in theatrical, provocative performance styles. The band’s aesthetic drew heavily from the American shock rock tradition established by acts like ALICE COOPER and later refined by MARILYN MANSON, but filtered through a distinctly French sensibility.
The Parisian shock rock scene of this period was characterized by bands attempting to recreate the transgressive energy of 1970s punk and glam rock within a modern industrial/electronic framework. The use of “ov” in band names had become a common stylistic choice among European extreme and alternative acts, originally popularized by Norwegian black metal bands but later adopted across various genres as a marker of underground credibility.
The involvement of an ANOREXIA NERVOSA member reflects the interconnected nature of France’s extreme music scene, where musicians frequently collaborated across genre boundaries. ANOREXIA NERVOSA, being one of France’s prominent symphonic black metal acts, represented a more established and critically acclaimed approach to theatrical extreme music, making the collaboration particularly noteworthy within the French underground music community.