With the introduction of “SINS LIES AND DEVOTION”, a very awaited full-length album created by Alexy Trip, who hails from Mexico City, comes a sound revolution. Released on April 24th, this album of nine tracks is an excellent portrayal of the “nocturnal story” genre, perfectly recreating the ambiance of a deserted Mexican street at 3 a.m. Trip is an artist who masters analog sound and has composed an album inspired by iconic bands of the 80s, such as Depeche Mode and New Order. Through combining the energy of darkwave with the musicality of synthpop and the haunting nature of new wave music, he has succeeded in crafting a haunting nighttime experience that is equally nostalgic and innovative. Now let’s lift the veil off this odyssey, one song at a time, as we delve into the elements that make up this album, which is sure to become a staple for lovers of darkness.
The album kicks off with “SINS,” where a dissonant bass note strikes with a startling jolt, giving the impression of an irregular heartbeat in a watery environment. The instrumentation is bare-boned and somewhat claustrophobic until it evolves into a synth-laden backdrop that captures the sensation of awakening in unfamiliar surroundings. In terms of its lyrical content, this song acts as the confession room for the rest of the album, exposing all the insecurities hidden behind the façade of confidence and bravado. The character in the song talks about how our deepest, darkest sins and secrets are laid bare in the night. From a music standpoint, the vocals are raw and uncomfortably up-close, ranging from low and rhythmic to high-pitched and straining to hit certain notes.
“ANGEL OF NIGHT,” on the other hand, switches to a rapid beat that mirrors the speed at which the city moves during its busiest night. It starts with an eerie sound that seems like a chiming synth before the drums come alive with their dance beats. In terms of the lyrics, this piece examines the contradiction of the themes of protection and confinement, asking us if those whom we turn to for comfort when we need them most are actually our angels or our demons. The singing style used here is very precise, and the synths are very bright and sharp in tone.
Finally, “HERE COMES THE RAIN” slows down the pace of the piece with its intro that features synth pops and a retro 80s-like beat. This track is a study in creating atmosphere, gradually adding to it the sounds of ethereal pads, as though building toward the coming release. The subject matter of this song revolves around catharsis, that point of breaking down after trying to hide from one’s own feelings and giving in. So “Here comes the rain/dark” here means that the walls are down and here goes everything. The vocal performance is soft and almost tearful until reaching the powerful chorus of screams and belts.
“KETAMINE” opens with an auditory distortion that sways to the right and creates a feeling of dizziness before settling into an overwhelming bassline. It feels like the distorted memory of something you can barely remember. It might sound dizzying, but make no mistake, it’s very captivating. This song presents a raw take on escapism and its associated numbness. The character in the song seems to be on ketamine and asks not to be woken up. The artist isn’t promoting the drug but, rather, the effects that it can have on users. Musically, the song is suffocating, with robotic harmonies overlayed onto the vocal performance along with a sound that verges on breaking down, which is the perfect musical interpretation of the feeling of disconnect from reality.
The song “LIES” starts with an unanticipated and vicious 80s-inspired synth sound and something guitar riff that has undergone a lot of processing to turn it into something that resembles the sound of a synthesizer, and sets up a tone of conflict right away. It starts abruptly with a quick inhale, leading into an explosion of clashing percussions. “LIES” talks about the gradual breakdown of trust by examining all the little lies and deceitful moments that ultimately lead to relationships breaking down completely. The vocals are sarcastic and cynical, set against a backdrop of beautiful and sweeping melodies in the chorus.
“HARD TO SAY GOODBYE” begins with a different and more upbeat synth melody that will get your attention immediately. There is an incredible intimacy in such a sound, which shows the weariness associated with leaving behind something or someone that you deeply cared for. The song’s character admits to a person close to him saying that it’s time to say goodbye and part ways, which is never easy. The vocals, in this case, are especially fragile, as though they are on the verge of breaking, while the background music is gradually created around them, through the use of weepy and emotive melodies.
In “DEVOTION,” the track starts off with a rhythmic synth loop of what seems to be a repetitive sound that is softly played over and over against a consistent thumping kick drum. In terms of sound design, “DEVOTION” can be considered the turning point of the album, focusing on a character who has decided to be devoted to his partner. He admits that seeing her and seeing her smile is all the proof that he needed to be loyal to her. The production of this track is very full of layers, featuring a synthesizer whose volume appears to expand and contract, making the performance appear highly dramatic or almost spiritual. The vocals rise to a soaring, defiant peak, capturing the desperate, all-consuming energy of total commitment.
“LOVE AND CARING” begins with the soothing sound of a record scratch, along with a rhythmic, pulsating bass synth that is as comforting as having someone’s hand on one’s shoulder. “LOVE AND CARING” opens up the song to the listeners in a way that allows them to rest for a second, to catch their breath. As a theme of the song, one can single out the re-creation of self-respect through the prism of compassion. After all the previous songs with their traumatizing themes, the song offers a new sense of hope.
The album ends with “IN MY DARKNESS,” an introduction of which comes in the form of a dramatic and expansive drone that is reminiscent of wind blowing through a very large cave. This creates an effect as if everything had reached its end, and the listeners have come to the end of their path after a long journey. The lyrics tell us about a character who is opening up about his inner darkness, where peace does not lie in pushing away those shadows, but in doing so, he has realized that embracing them is the best option for him. The vocal part is much more tranquil than before, devoid of any despair that used to be present earlier.
Trip’s new opus, entitled “SINS LIES AND DEVOTION,” presents to listeners the soundscapes of a ritualistic nature that seem not to constitute a regular album, but an exorcism of sorts. Indeed, with his use of the eerie yet crystal clear synthesizers and mesmerizing underground beats, Alexy Trip offers his listeners the opportunity to be immersed in a highly effective melancholic mood that is brimming with raw and rusty post-punk energy. The key theme of Trip’s music is heartache, solitude, and emotional pain of a devastating sort. Thus, the artist takes up one of the darkest paths, which he succeeds in brilliantly and in a highly original way. As I admit, I have always tried to keep a certain distance from this type of music, yet “SINS LIES AND DEVOTION” took down all of my shields without even trying. It is an exceptional masterpiece that not only brought me in, but it also consumed me entirely. After the last song was over, I realized that I was fully mesmerized by both the atmosphere of this genre itself and the unmatched artistry of Alexy Trip. The way he manages to transform such intricate human feelings and emotions into one perfect piece of music is simply outstanding. To all of my readers, please do yourself the favor of listening to this album. For my own part, all I am waiting for now is to know what he has for us in store next.
Stream the “SINS LIES AND DEVOTION” album on Spotify.
Follow Alexy Trip here and his socials: Instagram, TikTok, YouTube, Bandcamp
