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Paul Morley's Review of Dreams in Dusk by The Velvet Reverie (17 March 1981), NME
There's an air of contradiction surrounding Dreams in Dusk, the sophomore album by The Velvet Reverie. It's both meticulously curated and recklessly raw, an echo of its time and a bold glimpse of a future not yet written. Released on 13 March 1981, the album unfurls like a fever dream, blending a cinematic longing with a youthful restlessness that demands to be felt.
The Velvet Reverie-led by the magnetic Valerie Moltisanti-have taken a daring leap from the brooding experimentalism of their debut into an album that feels like an ambitious exploration of decadence, despair, and fleeting euphoria. This isn't a record that stays still. It's a map of emotional chaos, oscillating between the glittering highs of fame and the crushing weight of introspection.
Track Highlights
The opener, "Pretty Boy," sets the tone with its sultry, almost hypnotic energy. Originally written as a diary entry of the very own frontwoman of the band, the song is reinvented here with Valerie's smoky vocals taking center stage. There's a haunting elegance to the track, its subdued melancholy giving way to moments of sharp intensity, as if the song itself can't decide whether it wants to smolder or explode.
The title track, "Fast Times," is where the band truly flexes its ability to turn simplicity into sophistication. A restless anthem for youthful abandon. Daniel's guitar riffs are sharp but never overbearing, giving the song a sense of propulsion that carries the listener forward-headlong into chaos.
"BooHoo" and "Cry Baby," provide the album's emotional core. There's a vulnerability to Valerie's delivery, especially in "Cry Baby," where she allows herself to linger in the song's aching loneliness. The sparse arrangement mirrors the emotional barrenness at the heart of the track, pulling listeners into a stark and intimate world even with its uptempo rhythm.
By contrast, "Off to the Races" and "Body Electric," explode with cinematic flair. These tracks see the band indulge their love for drama and theatricality, layering lush instrumentation with Valerie's dynamic vocal performance. "Off to the Races" is particularly striking, its feverish energy and relentless pacing showcasing the band's more chaotic, glamorous side.
The album reaches its thematic peak with "Fear and Loathing," a piece that plays like a love letter to existential dread. It's sprawling, atmospheric, and devastatingly honest. Valerie's delivery is raw and unfiltered, her voice wavering with emotion as the song builds to a soaring, cathartic climax.
Aesthetic and Impact
What makes Dreams in Dusk so remarkable isn't just its tracklist-it's how the band makes every song undeniably their own. While the album draws heavily from its eclectic sources, it's imbued with a sense of cohesion that feels distinctly The Velvet Reverie. Their sound is a paradoxical blend of opulence and austerity, the kind of music that feels equally at home in a smoky dive bar or a grand, candlelit hall.
