Check out a clip of our song used to back a video shoot with Megan Fox!

Check out this kind review from Post-punk.com by Frank Deserto:http://www.myspace.com/postpunk

The first review of Live & Burn by Kristen Sollee of Big Takeover magazine.

link to site review

"Violent Heartstrings" sounds like The Cure, with Ian McCulloch on vocals. There's an epic, heartfelt mood to the music. A chaotic saxophone solo confirms the decade of choice as the 80s. Thankfully The Opposite Sex sound like the band they are influenced by, rather than individual songs. As the 80s are my favourite era this CD makes excellent listening. A heavy bass line plays a crucial role in "Turning Colours", while the vocals hint at The Cult. "Knives" has the tension of Killing Joke. A scream from singer Helton offers cathartic release. "Somewhere Girl" sees the band flirt with their jerky/punk side.
"Breaking The Sorrow" should be played in stadiums. It has an early U2 sense of scale. The guitars seem to arc across the sky, while the piano fills the horizon with clouds. "Walk On Water" sees synths mixed with guitars. The mood is mellower, though still far from somnambulant. The Opposite Sex show that they don't need a fast tempo to keep the listener's interest. "Does Anyone Truly Love Anybody Else?" keeps up the quality of song writing and musicianship. "Everything" has a strong rhythm section, particularly bass and hi-hat. "Shattering Walls" has a guitar that judders; this song demands your attention. The tribal drumming is fierce and deadly. "Dusk" has the atmosphere of Joy Division. The band indulge in a frenzy of church bell ringing, but no one has remembered to tune the bells, leading to a demonic cacophony of sound.

The Opposite Sex don't bring many new sounds to the post-punk mix, but they have used what ingredients they have very well. This is a band made for people who know what they like and who want extra helpings. The Opposite Sex may sound as if they were made in the 80s, but they have yet to reach their Sell By date.

Review for Violent Heartstrings from Monoton.at

link it is.


"In hörbar klassischer Tradition des Postpunks stehen The Opposite Sex. Mit ihrem Sänger, dessen Stimme sehr nahe jenen von Ian Astbury (The [Southern / Death ] Cult), Mark Sweeney (Red Lorry Yellow Lorry) oder zeitweise gar Dave Gahan ("Everything") liegt und dessen Äußeres dem jungen Peter Murphy beängstigend ähnelt, reiht sich die Band in die lange Reihe neben bereits erwähnten Zeitgenossen wie diesen oder diesen. Wobei The Opposite Sex sich gegenüber beidgenannten stärker dem "Punk" denn dem "Pop" widmen. Dabei gelingen ihnen solche Hörenswertigkeiten wie der Titelsong des Albums oder das brachiale "Shattering Walls".

Das gut produzierte, selbstveröffentlichte "Violent Heartstrings" ist allen Freunden oben fallengelassener Namen ans Herz zu legen."

Opposite Sex interview with reGen magazine

reGen magazine has us as the featured artist with an interview and review of Violent Heartstrings. Follow the link to read and check out the rest of their fantastic site!

many thanks to Ilker who conducted the interview and assistant editor Matthew.

Reviewed by Frank Deserto.

11/07

post-punk.com on myspace!

The fondest affections are reserved for those new and exciting bands that seem to appear out of thin air; majestic, powerful, and ready to take on the current scene with rare fury. The Opposite Sex is that sort of band, through and through.

Hailing from the recesses of Washington D.C., the Opposite Sex is a three-piece outfit with a variety of dark influences, ranging from the avant-garde, the captivating tart of glam, the murkiness of the New York City no-wave movement, and the razor-sharp ferocity of deathrock. As a live act, they are relentless and unforgiving, delightfully theatrical yet direct. With a promising four-track EP already under their belt, the band has just self-released their first full-length, Violent Heartstrings, and what a stunning debut it is.

A ten-track dissertation on post-punk fury, Violent Heartstrings both begins and ends with a bang, and all tracks pulse and clatter with delicious tension. The din of dirty saxophones hits hard throughout the album, blending in perfectly with jagged guitars, rhythmic bass, pounding drums, and nervous, piercing vocals. Stand-out tracks include 'Shattering Walls,' a punchy tune with a thick shroud of atmosphere, the vicious two minute onslaught of 'Knives,' and title track 'Violent Heartstrings,' the driving and catchy opener sprinkled lovingly with a hint of apocalyptic mayhem.

Throughout the entirety of the record, the band sounds at home with their aesthetic revelations, their confidence even more striking and enticing alongside a series of sturdy tracks. Ripe for the discovery, one would be elated to unearth the delights that Violent Heartstrings holds in store for any unsuspecting listener.

Reveiw by Aiden.
text to article is below the link.

Midnight Calling ezine link.

Talk about Karma, I had just been thinking about The Opposite Sex and frantically looking for their self-titled EP which I could have sworn I bought at the Drop Dead Festival. I wasn't sure if I was delusional or not, because I never could find it. About that time I got an email from the band asking if I'd like a copy of their new CD to review! This made my day, and when I got back from a recent trip it was waiting in my mailbox. For some reason, I was expecting another EP and I was thrilled to see it is a full-length album.

The title track "Violent Heartstrings" is about the most perfect post-punk song you can imagine. For me it, the vocals brought back shades of early U2 while musically it brought Echo and the Bunnymen to mind, with sax reminiscent of the English Beat. Simply awesome. "Turning Colours" opens with a dark bassline before bringing in classic edgy guitar and strident vocals. Throughout the song I kept having a feeling I'd heard the song before, but of course I haven't. I love the sharp guitar lines. "Knives" has a slow, introspective opening then explodes with furious punkish vocals and pounding percussion. Angry wailing and racing guitars suddenly subside for an unexpected ending.

"Somewhere Girl" continues the fast pace, with superb guitar and tight synchronization underlying soaring vocals packed with energy then a slow and somewhat eerie, somewhat psychedelic keyboard bridge. "Breaking the Sorrow" starts out suspenseful, then launches with a heavy bassline and vocals that manage to be frantic and dirge like at the dame time. Cutting guitar and a fuzzy, wailing interlude mixed with '80s style keyboards race towards a finale of feedback that slowly fades out. "Walk on Water", though filled with a pervading current of regret and reminiscing, is not a slow song. It evokes a feeling of wistfulness for something not quite remembered. 'Does Anybody Out There truly Love Anybody Else?" has a rather glam-ish start, with a powerful foundation that belies the poignancy of the lyrics such has "a million candles or a million tears." "Everything" has a throbbing percussion and intricate bass with forceful vocals that eventually rise to a crescendo. The process repeats then returns and ends like a fading heartbeat. "Shattering Walls" is a pure fury, with slashing guitar and stabbing vocals on top of a roaring foundation. The curtain fittingly falls with "Dusk", with funereal tones and ominous vocals that finally ends with an apocalyptic array of chiming bells.

"Violent Heartstrings" is a truly great CD by one of the greatest of today's post-punk bands. If you get a chance to see them live, don't miss them!

link to page.

posted 10/28/07 by mathew j.

The Opposite Sex sound so much like early gothic rock and post-punk, you'll swear you're rediscovering some lost band from the '80s. It's not that they sound like anyone else, in particular, but their debut album perfectly captures the gestalt of that early scene: the moody pop hooks, the tense tribal drumming style, the abrupt transitions between harmony and dissonance, and the chaotic arrangements (title track "Violent Heartstrings" even manages to work in a screechy saxophone solo at the end). "Knives" is as cutting as its title, with screaming guitars slashing through the hard-driving bass line, and "Somewhere Girl" throws in the mixture of punk energy and dandy stylishness that typified groups like Adam and The Ants and The Damned. "Breaking the Sorrow" is cleaner, less distorted, recalling hints of Joy Division with all the open spaces between throbbing staccato guitars, and "Walk on Water" lightens things just a touch with string pads and guitar harmony. "Everything" is quieter, baritone vocals drawled over a fuzzily plodding drumbeat, while "Shattering Walls" and "Dusk" end things on a high note, full of rich wailing guitars and the primal pounding of bass drum and snare. The comes with the highest recommendations to fans of Southern Death Cult, The Chameleons, and The Cure.