Venomous Hand of a Nightmare

Pounding and melodic opener, gripping from the go, with softer sections intermingled throughout and notable electronic touches. Love all the melancholy guitar harmonies. Manuel Costa added some beautiful backing vocals for this one, adding to the tasty bass work. The main riff is pretty hard-hitting in its power and melodic rage, almost melodeathy. Very deep bridge, too, as well as the spacey, emotional outro and piano-led finale. I feel the vocals worked out pretty well on this one, which I am always both surprised about AND grateful for (general trivia: the original plan pretty much being sticking to backing vocals, I ended up singing the whole album…!). Simple and evocative lyrics, about a certain kind of dreammares.

All The Rage

Another rocking banger. One of the initial tracks to be written and of the more straightforward and downright heavy of the entire SInc. discography. It‘s very riffy and electronic-tinged, almost industrial at times, yet still keeping the atmosphere and dreaminess, foremostly on the pre-chorus & chorus. Many surprises and different sections all along, and a catchy, singalong repeating motif. 

Glimpse of the Infinite

This is the acoustic song of the album and also one of its most special. Most of the track is acoustic-electric guitar & piano driven, adding percussion, drums and electric guitar layers & leads. The slightly odd time-signature of the first half revealed itself organically and underlines or betrays some uneasiness of the text. The vocals, used relatively sparsely, leave their mark in all the beauty & melancholy conveyed. Nostalgic and grand, intimate and heart-wrenching, leaving no one indifferent. Impeccable drumming and bass work all-along. Lyrics are highly melancholy and longing and adapted from a longer, 6-strophe long original text.

Lightbringers & Rainmakers

The obvious first single, instantly memorable & singalong. You can either confetti-dance or makeup-run cry, this is a celebratory track with infectious chorus and verses, flowing into a touching outro section. Lyrically, it features a recurring theme of mine (ie: also present in Come Hell and High Water) about dancing & rejoicing while the world around us goes under, the (ironic) joys of the apocalypse. The vocal work came out really nice and smoothly. A few listeners have noted this reminds them of Vertigo Steps.

Exploding in Slow-Mo

This is a very heartfelt track. It came from a chord sequence I developed and then once Manuel dropped by the studio we ended up jamming it a while and the following parts appeared organically, seamlessly. Later on I added vocals in a few takes, it just all flowed naturally and they are just one more instrument in the canvas. Lyric wise, it could be a love song for someone or something; if I were to write those, that is. Both sensual & deeply melancholy, simple and touching, with lovely intricate but subtle rhythm section work.

Rust and Sawdust

The first material I wrote for the album, already about 2 years ago. Where it all started. It instantly hinted towards the rockier direction, when I started using those massive guitars. A dystopian odyssey in 5/4, with a grand epic chorus. Lyrically inspired by a book which keeps coming back to haunt me; again, I originally wrote a much longer text and later had to adapt it. It’s a groovy monster, dark and sinuous, with a few surprises along the way, a heavy and more progressive-leaning track.

Come Hell and Highwater (feat. Marius Friedeberg)

This standout track has an interesting trivia: it was the very last to be written, after I had already decided to focus only on the 9 songs. It just appeared when I came back from an extended holiday and presented itself so catchy and groovy, that it just HAD to go in. Very epic chorus, groovy AF verses, hooks everywhere and the surprising bridge, all effortlessly flowing. It has a modern feel, maybe even prog/djent influenced. I love all the electronics and arrangements which became an integral part of the song. And Xinês’s drumming is obviously crushing it. The guest singer is a young and talented German musician with whom I hung out at the studio a couple of times, bonding over beer and music, of which we share many influences. The lyrics again give out on some of my fascination with an impending apocalypse, seeing the current negative energy-fueled sorrow state of the planet.

Steamcity

The electronic, trip hopish track is probably the most connected to the band's earlier sound. I came up with the main “riff” a few years back, using an oddball guitar pedal and it always came back to haunt me, so I knew I needed to develop it at some point. The track grew to an epic scale, very groovy, sensual and atmospheric. Also with some voice-synth stuff I sang, which I'm very happy with. The bridge section takes an unexpected sinister turn, betraying my well-known cinematic-leanings. For me it is a very personal and special track: intimate but grand, ambient yet dynamic & richly arranged.

Star-Crossed Lovers

Dreamy song, very atmospheric and touching. Some experimental vocals all along (multiple harmonies, playing with vocal synth FX). Starts off with a ™ SInc. clean guitar motif and almost fluffy vocals, before the final section rages in with massive intensity, impact and melody. Really enjoy the dynamic drumming throughout and those massive fills at the second half, mirroring the emotion on display. Recalling a curious comment from someone close: once the payoff “chorus” kicks in towards the end “it almost feels like a musical”. Heartfelt and thoroughly arranged, with a somewhat unexpected romantic touch to the lyrical approach.

Lipstick Smiles On Death Masks

The album closure and longest track. Quite proud of this one, in all its twists and turns, an emotional rollercoaster. First time I showed it to a close friend/fan, he suddenly teared up when the 2nd half began… This is a kind of magnum opus of the record, starting out big & rocking, serpenting through twists and turns (notice the interesting vocal cadence on the verses) and winding up on the extended second part, feat. orchestrations, myriad instruments and a wailing wah solo (I don't record many solos, but when I do I do like them to be memorable). Beautiful backing vocal work by Manuel. Infectious, progressive & emotional. The lyrical theme is somewhat cryptic and dark, hinting at nightmarish imagery.

Album out Mar 17th 2026 on ESW.