Nineteenth "The Astrological Path"

    Sometimes when looking towards the future, we find elements from the past reemerging through our artistic endeavors as if even though the world is rapidly evolving, we cannot shake away the influences that have left an impact on us. Matt Lasserre is definitely an individual who has a passion for making new music, and his genuine appreciation for the various styles of music that he has been influenced by over the years vibrantly stands out on anything he records. 

    Matt’s new project called, Nineteenth, is very much an exploration into the heavy synth sounds from 80’s music, as well as post-punk and progressive rock bands. Titled, “The Astrological Path,” the music feels like a reflection and homage to the 80’s, but also dives into some of the current issues our world is facing. Compared to his other projects, I felt as though Matt was really digging deep in terms of lyrical content, and offering some strong messages to very current world topics. Accelerated technological advances and the increase focus on artificial intelligence, almost feels like something out of an 80’s science fiction movie, which I feel Matt addressed at times on this album like on the track, “Dreamworlds II: Liminal Interiors & Neighbors.”

    The beginning track, “The Age of Aquarius,” is a celestial sounding intro piece that smoothly transitions into the next song, “Year of the Fire Horse.” I would say that, “Year of the Fire Horse,” is a very strong post-punk driven track and might be the most catchy songs off of the entire album. Also, the way Matt delivered the lyrics over the music had this Ian Curtis sounding feel to them, which made the song very profound and complimented the post-punk atmosphere. 

    On the third track, “Dreamworlds I: On the Beach,” the music starts to shift towards more dynamic synth wave arrangements that convey a cinematic like vibe. You can even hear seagull noises in the background at the start of the song, which is very appropriate given the title of the track. The song, “Night Wave Detection Agency” is also a very 80’s piece of music and has an audio clip from Miami Vice at the beginning. You could even say that Matt’s music is inspired from synth music that was used in the show Miami Vice as the arrangements he comes up could very well be used in a movie or video game. 

    There are a couple songs on this release that I find to have so more “heavy" sounding elements, or more strong guitar driven compositions. For example, “Aries,” is one song where the guitar parts really capture your attention, especially the tone of the guitar and how the distortion bleeds over the main rhythm. The most trippy sounding song on the album would definitely be, “Event Horizon - Neptune,” which I do consider to be my favorite song due to the surrealistic sounds that Matt conjures up. Also, I am a huge fan of the movie, Event Horizon, so that might play into why I like the track as well. However, the main rhythm created by the bass riff and the drum beat throughout the track is unbelievably hypnotic and lulls you into this cosmic sounding void that completely overwhelms your mind. 

    Once again, Matt has proven to be a modern day warrior unfazed by trends, or the latest fads in music. Instead he has allowed his creativity to explore the different interests he has come to enjoy over the years, while crafting a unique sound on this latest release. I would highly recommend, “The Astrological Path,” to anyone who is a fan of 80’s synth wave and post-punk, as well as any person who is a fan of cosmic creativity that moves towards the future with profound touches of the past. Unlike modern electronic music artists who play the same repetitive bass beat in front of brianded crowds waving glow sticks, and who can easily be replaced by AI or replicants, Matt is a strong creative force that no machine can replace given his years of unwavering passion along with his authentic artistic mindset. 

Check out the entire album below:

Nineteenth Bandcamp Link:

https://nineteenth.bandcamp.com/album/the-astrological-path

Sin Offering “Guilty”

    When I saw that Sin Offering had just put out a new release, I immediately turned all my attention to listening to the new material. I mean, a hatchet wielding maniac could be running down my street chasing a group teens, or a massive alien invasion could be happening outside my window, and I would completely ignore both of those scenarios just so I could listen to Sin Offering’s new EP titled, “Guilty.” 

    Before this EP the band had released a fantastic demo in 2023 called “Charnel House,” which I still consider to be one of the best death rock/post-punk releases to have come out within the past few years. There are a lot of bands playing this style of music, but in my opinion few really have the depth as songwriters whereas with Sin Offering the songs they compose really capture your attention from start to finish. Plus, the band has one extremely unique and distinct sound which mixes haunting beauty with gritty raw distortion. I would say that “Guilty” is definitely the next step in the band’s evolution, however, they even did more in terms of execution and the musical talent that they displayed on each of the new songs. 

    The opening track, “Like a Dog,” begins just as one would expect given this band’s dark gothic horror sounding aesthetic with ghastly organ music. Right after the organ fades, the guitarist unleashes a wicked riff containing a fistful of distorted fury to then make way for the other band members to start adding their contributions. I can say that there are elements very similar to that of early Christian Death, although I would argue that Sin Offering really breaks out of the simple Christian Death worship mold by coming up with a variety of unique touches that one can hear if they pay close attention. Personally, the band's singer has one of the best voices for this type of music, because her tone which is haunting yet so sonically stunning, is the perfect contrast to the coffin crushing guitar riffs and gloomy post-punk/death rock rhythms. 

    Also, throughout the album the guitarist comes up with some very striking riffs like on the song “Without Sanctuary,” where between the palm muted main riff you hear these utterly vivid harmonic squeals. The bassist and drummer lay down a strong backbone and I would say the tightness of the band’s rhythm section really allows for the guitarist to have this sort of wild freedom to explore and add these distinct sound guitar parts.  Actually, the bass player started off the third song on the album, “Ingenue,” with an extremely brilliant sounding bass riff that reminded me of classic post-punk style bass parts that grab your attention right away. Throughout the release I noticed these slight touches that stood out more compared to the band’s debut demo, and I could definitely hear how the band has raised the bar from when they first started. 

    The final two songs on the release, “Perfect Hem” and “In the Sepulchre,” are tremendously well written and well recorded songs. On “Perfect Hem,” I started to really notice how the drummer provides such a solid foundation for the other instruments. The guitars definitely standout, but there are times where I feel the drum parts provide a critical pulse for how the songs sort of develop to where the simple primitive beats get stuck in your head. Out of the five tracks, the last one “In the Sepulchre,” is in my opinion the best song off of the release. The song starts out with a sample of the main theme from John Carpenter’s “Assault of Precinct 13,” but Sin Offering puts their spin on the composition with a more gothic vibe. After the intro part the band comes up with a catchy main verse section, but when the chorus sections comes around that is where I think the band really conjures up something special. That chorus section is truly mesmerizing, especially how the singer’s voice presents the lyrics and creates this emotional rush. If you were to ask me, “In the Sepulchre,” is one of the best songs to come out in 2026, and each band member is deserving of credit for their contributions. 

    In the end, if you do not listen to this new release from Sin Offering then you are guilty of depriving yourself from hearing a tremendously talented band who has really taken the next step in terms of their songwriting talents as well as how they sounded in this recording. On the demo I could hear the elements that made them stand out and I very much enjoy those songs, but what they were able to accomplish on, “Guilty,” is definitely stepping into a whole different realm. I’m telling you right now, if they keep this up, by the time they record a new album I will literally fight an army of the undead just to hear it. Now that is when you know an artist is worth checking out! 

Check out the full release from No Deal's Youtube Channel (Great channel with tons of killer releases) :

Buy the album from Beach Impediment Records records: 

https://beachimpedimentrecords.bandcamp.com/album/guilty

The Chameleons “Arctic Moon”

    When people think of the 80's new wave and post-punk music scene, there are definitely certain bands that seem to get a majority of attention, which is unfortunate because there are a significant amount of underrated acts that deserve some much more credit. In the case of The Chameleons, they are an enigmatic gem in the world of music that may not get the some amount of recognition as their fellow post-punk/new wave contemporaries, however, their profound songwriter skills along with their captivating musicianship has established them as an everlasting presence amongst those who hold them in high regard. 

    The Chameleons return after not having put out a full-length album since their 2001 release, “Why Call It Anything,” with one extremely deeply inspiring new album titled, “Arctic Moon.” Even though this is only the band’s fifth full-length album to date, their first three albums released in the 80’s remain some of the most well recorded and timeless albums from that period with my favorite being, "Strange Times." It comes with no surprise that this band does not comprise their artist values, or drastically deviates from their musical ethos on, “Arctic Moon.” Once again, Vox’s lyrics are very powerful and his ability to write such vivid self-reflective songs strongly resonates with the fans. The band’s sound is extremely welcoming, while also creating a sense of caution as society drifts into a very entropic future. 

    The first song on the album, “Where Are You?,” is a brilliant opening track featuring a vibrant sounding opening riff to welcome the listener into this euphorically sonic wonderland. Also, I really enjoyed hearing the full chords used throughout the track which injects into the band’s sound a mighty burst of radiant energy. The second song on the album, “Lady Strange,” is a very calming and catchy tune with more warm sounding chord progressions to complement Vox’s comforting vocal delivery. Throughout the entire track I felt at peace as the song’s overall atmosphere is guided by a profound synergy. 

    One area of this album that I thought really stood out was the stellar production and orchestral arrangements. Pete Whitfield who is credited for the orchestral arrangements as well as performing on, “Feels Like the End of the World” and “David Bowie Takes My Hand,” provides an extra touch of brilliance two unbelievably moving tracks. “Feels Like the End of the World” begins as a very up beat sounding instrumental arrangement that eventually transitions into a more haunting direction towards the end of the song. Very similar to songs on the first three Chameleons albums, Reg Smithies dynamic style is able to pivot down a variety of musical path, thus offering listener’s a plethora of strikingly memorable and emotionally charged guitar parts. “Free Me,” and “Magnolia” are also two very creative pieces of music that once gain demonstrate the band’s tremendously tight songwriting skills. “Free Me,” has you hooked from the beginning of the track with its monumental acoustic chords which eventually grows into a phenomenal chorus section to lift you up. 

    The song thought that really steals the show and is probably the track that I would say represents this band’s undeniable prowess as songwriters is “David Bowie Takes My Hand.” Every single second of this song you are drawn into every sound and lyric, which is achieved by the exceptional production and inspiring instrumental arrangements. When you hear Vox sing the lyrics during the chorus section, one can vividly feel the raw emotional tone coming from his voice as you listen to each word over the epic instrumental arrangement. The final song on the album, “Saviors Are a Dangerous Thing,” was released as a single in May of this year, and really addresses a lot of what has been happening the world for years when pertaining to the idea of a leader coming and making grandiose promises. As I always say, never trust someone who comes up and says that they are here to help, especially if they drive a white van and are dressed up like a clown claiming to offer free candy. 

    Overall, The Chameleons “Arctic Moon” is an album that is desperately needing for 2025, but in the end can hopefully be a timeless inspiration for many years to come just like the band's other full-length albums. Compared to some old washed up mummified looking artists who write pretentious protest songs and sound like drunk constipated goats, The Chameleons genuine act that listeners can relate to with true appreciation and respect for their talents. I would highly recommend checking this album out, and if you have never heard of the Chameleons, then you shall hopefully become hooked after hearing this release which will then get you to listen to the band’s previous works. Even though the times right now feel chaotic and confusing, the music from The Chameleons can be a guiding light to lift one's self out of the murky suffocating darkness and into a state of much needed tranquility. 

Check out the music video for "Where Are You?" below via Metropolis Records: 

Lathe of Heaven “Aurora”

    In 2023 there was an album that came out which completely took me by surprise and without exaggeration would go on to be an album that I listen to rather frequently. The album that I am referring to is Lathe of Heaven’s debut album, “Bound by Naked Skies,” which is a truly brilliant sounding release containing some unbelievably profound lyrical content as well some utterly amazing post-punk/new wave arrangements. 

    When I first heard that Lathe of Heave was going to be releasing a follow-up album this year, I had mixed feelings about the announcement. As much as I welcomed the news, I could not ignore this slight hesitant feeling in regards to how the new release would be able to live up to the debut's profoundly captivating presence. Would Lathe of Heaven be able capture lightning in jar twice, or will it be a case of a band that completely deviates from what made them special on their first album? Well, after listening to the new album titled, “Aurora,” I can confidentiality say that Lathe of Heaven continues to present these captivating post-punk fueled songs with vivid lyrical vignettes inspired by science fiction literature and deep self-reflective themes that are drawn out from living in such an entropic world. 

    Although there are a lot of similarities between, “Bound By Naked Skies” and “Aurora,” I can definitely tell that the band pushed themselves in terms of the album’s production as well as how they went about trying to create some passionately reflective pieces of music. The opening song, “Exodus,” hooked me right away with the opening guitar arrangement having a very similar effect to that of music by The Chameleons. I can tell that Lathe of Heaven’s guitarist, Noel Mateus, sort of has a similar approach to crafting guitar parts like Reg Smithies from The Chameleons, especially when picking through these vibrant sounding chord progressions. On, “Exodus,” the band delivers a very classic post-punk sounding composition with a very catchy tempo driving the fearlessly song forward as Gage Allison’s vocals come gliding over the hypnotic sounding soundscape. The album’s second track and title track, “Aurora,” is a much more calming new wave/post-punk tale that talks about a dystopian world after nuclear fallout, yet also details the feelings of loss and affection. The song’s melodic tone matched with the bewitching tempo conjured up by the band’s drummer Stephen Reader, creates a comforting atmosphere to put your mind at ease. 

    Following, “Aurora,” the band goes from a more aggressive sounding style of song with, “Portrait of Scorched-Earth.” Inspired by the results of man's destructive tendencies and international conflict, the instrumental arrangement reminded me of songs from the debut album such as, “Inertia” and “The Breaking Strain.” Gage’s vocals become more fearsome as he shouts with unapologetic rage and the drums echo with a more thunderous sound. I think the track is a decent recording, however, the song is between two very exceptional tracks, with the following song, “Just Beyond the Reach of Light,” being my favorite song off of the album. In a way, “Just Beyond the Reach of Light,” sort of picks up where, “Aurora,” left off and really dives deep into the band’s versatile post-punk talents. Also, I think Gage’s vocals on “Just Beyond the Reach of Light,” were truly exceptional and you can vividly hear such genuine devotion to the topic he is singing about. Also, I thought the arrangement was one of their most dynamic and ambitious creations featuring some mesmerizing guitar parts. The album’s fourth song jumps more in a chaotic frenzy appropriately title, “Oblivion.” The bass lines Daniel Rojas lays down during the track are very impactful and compliment the frantic musical landscape which leaves one questioning their surroundings as they slowly begin to slip into the world without meaning. 

    For the second half of the album, the band offers even some more fascinating and eye opening tracks that I can see people who enjoy post-punk music/new wave really gravitating towards. “Kaleidoscope” is probably my second favorite song and after I listening to the track in my car driving around the day the album was released, I started to feel a very strong connection to this track. The song contains some powerful lyrics along with some very euphorically dreamy sounding instrumental parts. In addition to the calming post-punk style tracks, the band also returns with more Killing Joke-esque punchy pulsating rhythms on tracks like “Catatonia” and “Automation Bias.” I think “Automation Bias” is a strong thought provoking song which people can really relate to at this moment in time. I will admit that as much as I enjoyed the album’s final track, “Rorschach,” I do believe that the final song on their debut album, “Heralds of the Circuit-Born” was possibly one of the best ending tracks I have heard in a while. My reason for that last statement is that when you listen to, “Heralds of the Circuit-Born,” you become filled with all these different emotions and Gage’s voice provides a very comforting sendoff. Again, I have no issues with, “Rorschach,” and the song fits with the album’s magnetic post-punk energy. However, I do believe that, “Heralds of the Circuit-Born,” will forever be one of the most serene sounding conclusions to an album. 

    Now for those of you are regular readers of this blog, I would probably estimate that this is one of my longest reviews. Although that should be expected given how much respect and appreciation I have for Lathe of Heaven, especially when pertaining to their debut album. In the end, “Aurora,” did not disappointment in the least bit and once again proves that the members of this band are an undeniably talented and a extremely passionate. “Aurora” contains substance both musically and lyrically, and this group is extremely dedicated to their artistic vision. With all the insanity going on in the world, I have come to view Lathe of Heaven as an inspiration, and I do hope more people discover this band and become captivated by their music like I did when first hearing them. 

Check out the music video for "Aurora" below:

Lathe of Heaven Bandcamp:

https://latheofheaven.bandcamp.com/album/aurora

Matt Lasserre “Jungian House Dream”

    The architect behind Pale Cremation, Matt Lasserre, invites listeners on a unforgettable dreamlike exploration through various post-punk/new wave, avant-garde and progressive rock arrangements on his solo release titled, “Jungian House Dream.” Once again, Matt demonstrates his diverse artistic mindset while traversing across these vivid sounding musical landscapes with such keen attention to detail. 

    Over the years that I have come to know Matt, I have witnessed him really expand upon his musical ideas with vigorous fascination, thus allowing him to compose some unbelievably creative sounding releases. “Jungian House Dream,” is definitely one of his most ambitious and out off this world creations to date, which is why I was instantly drawn to the release after hearing a preview track. The post-punk and new wave elements conjure up some very dreamy and space like atmospheres, while the progressive rock arrangements add a dynamic flare to the overall sound. 

    From the very start, the album dives deep into the world of dreams and human psyche with a strong emphasis on progressive rock ethos driving the creation of a lot of the instrumental arrangements. The opening song, “Love Pill Theme,” is very new wave sounding from the opening electronic noises to the mesmerizing layers of synth. Along with the synths Matt throws in some post-punk influenced guitar work, and the notes vividly ring out in such a hypnotic fashion. Compared to work in Pale Cremation, I felt as thought there was more emphasis was placed on the how he was able to bring together all these different sounding elements, especially since the music feels almost cinematic at times. The second track off of the album, “Couloirs De Terreur Et De Decadence,” continued to build-up the opening song's heavy synth emphasis, but also added some progressive/avant-garde rock guitar lead touches towards the end. 

    Of course, Matt does incorporate song heavier elements into the album and on the song, “Architectural Model of the Psyche,” he conjures up more of an old school Sabbath like sound, which I thought really stood out and happened to be one of my favorite pieces of music off of the album. The song’s main riff sounded truly monumental with its Iommi-esque sonically devastating sound that instantly captures your attention. On the song, “Visitation,” you can hear a more industrial/thrash metal edge featuring more adrenaline pumping distorted riffs of high octane aggression that slightly reminded me of Matt’s time in the band Scrape the Earth. Eventually the music mellows out and transitions into a more calming almost transcendental direction, which ties into the experimental synth arrangements that tend to be guiding the listener throughout the release at various points. 

    Throughout the album you are constantly enthralled by the various arrangements and different audio clips detailing human consciousness and the power of dreams.  “Jungian House Dream,” is an album that I find comes from years of unyielding passion and an individual’s desire to bring out musical concepts that they have fondly amassed over years of being a open minded artist. Matt really took his time crafting this album by making sure each guitar riff, bass line, and synth made a distinct impact, so in the end listeners can experience a release that does not sound like a lot of what you are hearing from the rock/metal world today. I would highly recommend people give this album a listen, especially if you are open to progressive rock music infused with some post-punk, synthwave, new/wave, as well as some metal touches from one creative individual. 

Listen to the entire album via Doom Zone Productions Youtube channel :

Matt's Bandcamp:

https://mattlasserre.bandcamp.com/album/jungian-house-dream

Lathe of Heaven “Bound by Naked Skies”

    With lyrical themes inspired by classic and contemporary science-fiction authors as well as a sound that blends together hardcore punk, post-punk and new wave, NYC based band Lathe of Heaven offers listeners an unbelievably profound debut album. Titled, “Bound by Naked Skies,” the album captures the pure essence of 80’s inspired post-punk/new wave, while also having a uniquely refreshing sound from start to finish. 

    I came across this album through the Youtube channel, No Deal, which is a great channel to subscribe to if you are a fan of hardcore punk, post-punk and crust punk. Lathe of Heaven reminds me so much of what you would have heard coming from the UK and Europe during that late seventies and early eighties period where you had punk bands starting to experiment more with electronics, dark atmospheres and haunting synth arrangements. You hear a bit of Killing Joke and Siouxsie and the Banshees in their sound as well as new wave acts such as OMD and early Echo and the Bunnymen. They really do such a great job recording a refreshing sounding album by coming up with some very catchy verse and chorus sections wrapped up in these mesmerizing compositions. Also, the band’s vocalist has a captivating delivery that grabs your attention right away and puts your mind at easy while you listening to words soar over the enchanting post-punk instrumental arrangements.  

    The album features eleven tracks, and I can guarantee that there are no filler songs on the entire release. Everything seems to be in perfect synchronicity when the band launches into the first song on the album, "At Moment's Edge." The guitar notes ring out with such an awe-inspiring sound and the guitar effects used by the guitarist create an extremely comforting atmosphere. On the second song, “Ekpyrosis,” the band comes up with a more punchy sounding piece of post-punk music that reminded me of classic Killing Joke. The lyrics vividly standout out as you slowly become engrossed in the catchy sounding musical landscape. Also, the bass tone on this track as well as most tracks on this album is truly immaculate sounding and adds so much to the band's overall sound. 

    Other tracks like, “Genome” and “Inertia,” continue to emphasize this classic post-punk/new wave sound that explores themes of science fiction and deep thought provoking concepts. Musically the band does not disappoint and the riffs on this album simply take you away from all the chaos and despair of modern society to look beyond what our current reality has to offer. “Moon-Driven Sea,” takes a turn down a more solemn sounding pathway, one which caught my attention instantly and made me forget about everything around me as I listened intently to the singer’s enchanting vocal delivery which follows along to the spectral guitar chords. 

    Another track that I want to point out is, "Ilusi ó n de Luces (Cold's Embrace),” because on this song there is another singer who starts the song off and then switches with the band’s primary singer. The contrasting voices makes the overall composition extremely fascinating, while also perfectly matching song’s quick and frantic tempo. I think what I took away most from this album was how strong the songwriting was on the entire release. There are few albums I have come across whether they be metal, rock, or punk releases that have such a captivating quality. 

    Lathe of Heaven’s “Bound by Naked Skies” has the potential to be a highly sought after release, especially amongst fans who enjoy 80’s post-punk and new wave. When I saw that Sacred Bones was the label that would be putting this album out, I knew Lathe of Heaven was in good hands since Sacred Bones is a label that is known for promoting very talented, highly driven and passionately creative acts. I do hope more people check this album out, because even if you are not a massive fan of this type of music, the songwriting and I think the overall sound of this album can be extremely appealing to a wide range of people. No matter what year or decade it happens to be, I strongly believe Lathe of Heaven is a band that will be able to transcend musical trends and maintain to passionate cult like following thanks to what they accomplished on this album. 

Check out the video for "At Moment's Edge" below:

Lathe of Heaven Bandcamp:

https://latheofheaven.bandcamp.com/album/bound-by-naked-skies

Sin Offering "Charnel House"

    When I first came across this four song EP via a Youtube channel that I am subscribed to called, No Deal, I was extremely interested to hear what this band sounded like given the very grim looking album cover. The band’s name, Sin Offering, is very appropriate given this band’s utterly haunting post-punk sound that instantly hooks you right away and covers you in this funeral veil of mesmerizing darkness. 

    Titled, “Charnel House,” this EP by Sin Offering is something that I can see appealing to a wide range of music fans. The band’s sound takes certain elements from gothic rock and post-punk bands like Christian Death, Siouxsie and the Banshees and Bauhaus, as well as other acts that have this unique ability of creating macabre themed music while also coming up with very catchy sounding arrangements. The singer in Sin Offering has an unfathomably captivating voice that perfectly compliments the music and reminded me a bit of Debora Iyall the singer from the post-punk/new wave band Romeo Void. During some of the songs on this EP you feel as though the singer’s voice is leading you through this hazy maze as you become lost in the morbid blissfulness created by the other instruments. 

    Another area on this EP that vividly stands out and adds to the band’s profoundly haunting sound is the guitar playing. The guitarist may not be some shredding virtuoso, but they sure as hell know how to come up with some down right catchy chord progressions. Plus, I really like their guitar tone and how they went about utilizing different guitar effects throughout the release to give the music a very dynamic sound. The opening song, “Pleasure Garden,” starts out with these ghastly muffled noises, but once the drums kick in and offer up a solid straightforward heart pounding post-punk like rhythm, you quickly become possessed by the sonic rush of dark hallucinogenic distortion. On the second track, “Bell Glass Mortuary,” I really liked the primitive sounding opening riff along with the singer’s vocal delivery. Some lyrics that caught my attention were, “Pale roses, silver scalpel, Heart-shaped locket, tooth and hair,” which again creates this ghastly romantic tale that the singer is able emphasize with such raw emotion behind every word. 

    “Gilt Hotel” and “Velvet Ossuary,” are a couple killer tracks as well featuring more addictive sounding guitar parts and macabre lyrics delivered in an enchanting manner. Some of the guitar melodies like on, “Gilt Hotel,” are really brilliant sounding, because even though they are not overly complex in terms of technicality, they have this ability to demand your attention as the notes feverishly ring out over the deafening drum noises. The bass part at the ending of, “Velvet Ossuary,” was another very creative idea and did a great job wrapping up the release by creating this ghastly atmosphere where the solemn bass riff sends you off into the pitch black void. 

    From the start of the EP to the harmoniously eerie end, “Charnel House,” is an EP that I highly recommend listening to if you are a fan of horrifyingly catchy post-punk and gothic themed rock music. The band is able to convey an amazing amount of raw and hypnotic energy, while achieving an unbelievably tight overall sound. To me this album’s haunting production and recording quality, as well as the phenomenal gothic lyrics, makes this an atypical listening that is highly needed in our world right now. Society has really been inundated with such cheap sounding overproduced garbage that when you come across a band like Sin Offering, you are completely blown away and hope to hear from them in the future. 

Check out the full EP below (Also, subscribe to No Deal's Youtube Channel! Tons of killer punk and underground releases worth checking out!) : 

Bandcamp link to the EP: 

https://soundgrotesca.bandcamp.com/album/charnel-house

Murderbait “When the Sun Goes Down, It Goes Down Forever”

    If you are a consistent reader of this blog, then you will have noticed that I give a fair amount of coverage to bands that are on the label, Sentient Ruin. The reason for this being that Sentient Ruin works with a wide variety of unbelievably creative and unorthodox extreme metal and punk artists. Now, in the case of Murderbait, I was pleasantly surprised to be sent this band which one might not right away think would be associated with the label. However, if you have followed this label from the beginning, then you would know that Sentient Ruin is all about promoting hard working and passionate underground artists. 

    Murderbait’s sophomore EP, “When the Sun Goes Down, It Goes Down Forever,” released back in 2019 is finally getting vinyl release thanks to Sentient Ruin. Originally only available on cassette and digital, this group of Portland, Oregon based goth/post-punk rockers are going to be capturing even more curious listeners now that Sentient Ruin is releasing this album on vinyl. Honestly, as much as I enjoy the bludgeoning extreme metal bands that write such savage offerings of sickening brutality, I too yearn for something a bit different to listen to once in a while. 

       I am glad that Sentient Ruin sent me this promo, as I sometimes feel that I do not get an opportunity to talk about the plethora of different musical styles which I also enjoy. Murderbait’s mesmerizing sound mixes together a variety of haunting elements, but the gloomy almost western influenced post-punk sound is what seems to be the main driving influence on this two track EP. When listening to the band’s sound I hear a bit of New Order, Depeche Mode, Bauhuas, Nick Cave and The Cure, while also those beautifully haunting moments one might expect to hear on a Type O negative release. I think the band’s ability to pull such a vast amount of influences together and form their own unique sound is what makes this group really stand out. 

    Also, the lyrical creativity along with the somber delivery of the vocal parts tells a tale of haunting grace accompanied by this macabre atmospheric sounding world of soothing gothic post-punk. As I mentioned earlier I hear a bit of New Order in their sound, especially in regards to the bone-chilling bass melodies. The song, “When the Sun Goes Down, It Goes Down Forever,” comes masterfully rolling out of the speakers in a hypnotic post-punk fashion. Each sound slowly builds to this tidal wave of melancholy emotion that compliments the singer’s dark delivery. 

    Track number two, “Unravelling,” definitely picks up where the first song left off by stringing you along with this glossy atmosphere, which eventually begins to unravel towards the end of the song by offer some dynamic instrumental arrangements. Overall, the guitars create a landscape shrouded in a veil of heavenly gothic tones, but the production never sounds weak, or loses its potency. From the start of the song until the end, you feel draw to this spectral aura emanating from your speakers. 

     Murderbait is highly recommend for fans of gothic rock and post-punk looking for something that breaks the stereotypical music mold. Music likes this could be used in a horror film as people are gathered in a cemetery under a cluster of dark ominous clouds, because the music paints such vivid images in your mind. In the end, having this EP finally released on vinyl through Sentient Ruin will allow for the band to be discovered by more potential listeners, while also offering current fans a chance to own this release on vinyl. The way I see it, everyone wins in the end (Besides those close minded bestial blackened death doom grindcore elitists who will continue acting like badasses until their parents tell them it is time to go eat at the Red Lobster). 

Check out the video for the song “When the Sun Goes Down, It Goes Down Forever” below:

Sentient Ruin Bandcamp:

https://sentientruin.bandcamp.com/album/when-the-sun-goes-down-it-goes-down-forever