Having already got one new side-project under his belt for 2012, it was surprising to see Matt Skiba announce that he’d be releasing a full length with, new band, The Sekrets. Though considered a “solo-ish” outing from the Alkaline Trio vocalist/guitarist, Skiba enlisted Hunter Burgan (AFI) and Jarrod Alexander (My Chemical Romance) to help him out with this latest foray into the world of post-punk.
I say it’s a post-punk record, but it still contains a lot of the elements that endeared Skiba to punk fans for the past fifteen-plus years. Unlike his previous effort with Heavens, the record is a lot more upbeat and will sound familiar to fans of his work with The Trio. The addition of a synth and some light vocal effects – mainstays of that late 70s/early 80s post-punk sound – stand out as the the biggest difference between Babylon and newer recorded material. This is no bad thing, and there were times I felt that some of Agony & Irony and This Addiction may have been better served as part of this project.
Lyrically, it’s standard Matt Skiba fare with an emphasis on the emotional, the morose and the morbid, which fit well with the haunting synth tracks that lurk in the background of each song. Though even Skiba can’t be spot on all the time. ‘Luciferian Blues’ and ‘Falling Like Rain’ are the two weakest lyrical efforts on the album, with the latter definitely being the worst track on the record. There’s just a bit too much of that synth and it sounds like a bad 90s dance track.
At it’s worst it’s pretty bad, but there’s a lot to love here. ‘Voices’ and ‘All Fall Down’ make for a great opening to the record and ‘How The Hell Did We Get Here’ is absolutely fantastic. It’s tracks like these that combine the pop, punk, electro and post-punk influences the best and justify the reason for this record’s existence. With that said, despite of its post-punk roots and the clear influence of Joy Division and New Order, it’s not all that downbeat. Skiba still has a knack for making you want to sing along with him, even when it comes to the darkest of subjects.
In fact, it’s actually quite a fun record and feels like the natural progression of what Matt wanted to do with Heavens. Some may scoff that Matt’s not exactly stepped too far out of his comfort zone here, but that doesn’t mean him and the band haven’t made a really good record. It’s punky, poppy and morbid in equal measure, and definitely worth your time.