Magical and nostalgic post-punk with goth overtones, coming from current times. First song “Playing Dead” starts off well, with a bombastic baseline that could potentially blow people out of their chairs. Considerably down-tempo, but packed with an arsenal filled to the brink with both synths, dark riffing and melancholia. I believe that the intro had a potential that could’ve been launched once again, even though the segment of the perilous baseline moved on like a giant, the remainder of the sound-scape seems to have strayed off the original path and formed their own shape and contuse the rest. Really, the thing that keeps it afloat is the baseline and the drumming in the background, everything else is superficial when you listen to it. Which is a shame, since it takes so much away from the great riffing in the background and the vocals at hand. They could be considered a part of this steaming pile of goodness, but become a secondary thought whilst you venture through. Next up is a more frivolous track by the name of “Shoot Me Up“, which boils down to their ultimate post-punk influences and the more catchy, but melodic part of their music. I never thought a baseline could get so dark, scary and brutal in the means of itself. Gushing through the mortal wounds we all have, opening up my ear-canals even more and seeping through the rifts on my outside, reaching a certain part of my inside. Combined with all the melancholy and angst, there’s room for a synths wailing composition to reach even closer and deeper within. Certainly an even better approach to their influences at hand, using them within their perfect means and provoking a reaction from the listener on a deeper level than just observing the different components.
The third song “Spectral Bliss” is forcing itself to reconcile with the electronic part of the sound-scape, to form a shell that contains the pulsating post-punk baseline and the disheartened vocals. A kind of melodic enthusiasm, which also searches through the parts, launching even more repetitive and less melodic synth-sounds. There’s always some light in the tunnel, as the dreamy and high-pitched sounds wail in tune with the singer and create a whole other sound than what I’ve heard so far. Blending both the darker realms of the sound-scape and the lighter, more happy and up-beat ones. Another one of the more repetitive namesakes is the song “The Stranger“. Feels like floating on dark matter to a whole other world, whereas the darker synth-sounds collide with the non-electronic. Introducing a little bit more of the dark wave sound, which is a great combination of both melody and rhythms in the end. Painting up an even greyer and more sinister picture at hand, which puts the other songs to shame.
As I said about the baseline earlier, in one of the other songs, is it even possible to get this far into darkness? I think not. Surrounded by careless riffs and thoughtful baselines, sweeping away every sense of a new beginning. Utilizing each and every step to form an even more depressing path, as the down-tempo synths foreclose the song and declare it dead. One of the more intriguing experiences, as I travel further into the core of darkness. This, my friends, is dark. No, not like your coffee – it’s even darker than that. The fifth song “Knell” is more of an continuation of the fourth song, but with an edge to it and totally instrumental. Delivering a minimalistic and almost ambient-like landscape that portrays every single atom as a part of its own, music-wise. An intermezzo of different feelings, somewhat quirky synths and experimentalism at the very bottom. Working almost as a soundtrack in itself, or a summation of what I’ve currently been hearing throughout the album.
Launching me into the sixth song “The Eternal Giver“, which is an up-tempo song with even more goth acclimatized to it. Every beat of the snare drum feels like a pulsating trigger, which makes this more of an in-your-face song than anything else. The lyrics are also much better than ever, it’s also got a more tempting melodic section and even greater riffing. It feels like I’m amidst something revolutionary the more I listen to it, it’s the center of everything on earth and it delivers a sturdy but shaking ground to stand on. Everything falls in place and my heart is beating faster than ever, as the track packs a punch of adrenaline that it decides to inject into me. Probably one of the best songs on the album yet, which have been filled to the brink with quality and thoughtfulness. I am reminded of the energy that The Foreign Resort have in their music, combine that with less new-wave and even more post-punk/goth rock.
Now it’s time for the seventh song on the album which is titled “Wild Eyes“. More down-tempo, less melancholy and a more spiritual approach to everything. It feels dreamy and the riffs are about the same, one huge difference that made everything a little bit more interesting, was when they decided to launch the drums into a bombastic breakdown. Feels like they could’ve gone with that throughout, but they missed out on including it in the other parts. An unconventional touch to say the least, which just enhanced the baseline and the sound-scape as a whole. Instead, they decided to put in a little bit of mellow synths here and there, the closer to the end you get. I still have to say that the bombastic breakdown with the drums was my favorite part of the song, everything else seems superficial when I heard that, as I thought they were going to change something after. I was pretty disappointed, but it returned briefly by the end of the track, which is good.
The eighth song “Winged Thing” is overtly goth in its overtones and concocts a bunch of nocturnal riffs that make it even more enjoyable. As I step into their shoes for a brief moment, finding myself in a borderline punk-rock/post-punk show. Melodically, the riffs may not be that great, but I think it adds another flavor to an otherwise pretty distorted environment. It’s also got a lot of more unconventional changes in the sound-scape, but seldom switch to anything out of the ordinary. I would say that this is a pretty generic Night Sins song, with the exception of it being a little bit more freakish and experimental than the other songs.
Closing song “Knife to the Sky” forces itself into a more dark wave and post-punk sound-scape. With greater focus on the more electronic side of the band, having some weird synth-melodies blend with the less melodic sound-scape. One line that runs around my head constantly is: “Is this life?“. In a sense, this track couldn’t be more perfectly placed, but I think they need to utilize the melody of the synth a little bit better with the sound-scape as a whole. But the melody at hand is very good and really shows off their electronic ambitions. All-in-all, this album is a really great album and I advise everyone to check it out. You should also buy it if you can, because it surely brings another light to the more traditional sound, with a totally new and fresh sound that works in every sense.