The Secrecy - Pins & Needles

Jeff Wilson is at it again in his quest to perfect the various corners of post-punk. The opening track taking influence from both Killing Joke and Fields of the Nephilim to get things off to a foreboding feeling of storm clouds rolling in. They shift into a less aggressive, more hypnotic pulse on 'Dancing in the Fire', despite the title. 'Meet Me After Midnight' carries more of a dance beat with its touch of new wave, part of the magic lying in Wilson’s knowledge of the genre as well as his ability to pull inspiration from more than one corner. 

'Sky' is more atmospheric with synths echoing the mood of mid-period Cure, you might also draw comparisons to the more melancholic vibes projected by Clan of Xymox as a reference point. It builds over a more rock-inspired dynamic at the chorus. The guitar carries a similar sullen drone, and its metal roots haunt it. Despite Wilson’s black metal past, the heaviest thing about the album is how dark it is, a good example of which can be heard on 'The Watchers'. They go a more Killing Joke route here with its brooding tension, the synths are really well used, and the dynamics straight up killer.

The production value of this album is off the charts.  They crafted this album with some really cool sounds and are not just trying to capture the retro Bat Cave sound, but are using expansive sounds with emotional depth. Hooky vocals and anthemic chords wrap in a grim little package. There are some goth-tinged sounds to the title track. The bass line is the biggest culprit, what sets this band apart from the rest of the post-punk revival bands trying to carry the dark flame of the 80s. This is largely due to the fact that the vocals never try to emulate the tried trope of having to employ the old  Ian Curtis baritone or the Andrew Eldritch vampire voice; instead, they manage to convey the same introspective turmoil in their own manner.  Goth is a genre with many vocal stylings, so it's a shame other bands just pick from these two choices. 

A synth ambiance opens the last song, the bass leads the way in a very Cure tinged manner. The vocals are soft and reflective and it all comes together gracefully. This album will appeal to fans of goth-leaning post-punk and fans of Wilson’s other solo work. It’s the best dark rock album thus far this year, and a gem as it embraces its own intensity rather than being a tribute to an era.

Review by Wil Cifer