SPILL ALBUM REVIEW: DEA MATRONA – FOR YOUR SINS

DEA MATRONA
FOR YOUR SINS
INDEPENDENT

The highly-anticipated debut album For Your Sins from Orláith Forsythe and Mollie McGinn of the Irish rock duo Dea Matrona has finally arrived. For Your Sins drips with flavour and style. It features exhilarating and explosive guitar riffs, infectiously charming and catchy choruses, is endlessly entertaining, and is full of relentless swagger.

For Your Sins is loaded with hits from top to bottom. Opening up the record is “Stuck On You”, probably the coolest rock song you will hear all year and worthy of being played on a loop. Crisp guitars, a hypnotic chorus, a bad-ass attitude, and an unreal bassline make this track a thrilling earworm. Tracks two and three are just as impressive as “Stamp On It” and “Red Button” have the same charming energy and irresistibility as “Stuck On You”. “Red Button”, in particular, is an absolute gem, with its classic rock sound similar to that of Stevie Nicks (especially “Edge of Seventeen”), exuberant chorus, and ravishing vocals being the main reasons. “Black Rain” is an electrifying combination of Led Zeppelin and Fleetwood Mac with some heavy guitar riffs. Lastly, “Wilderness” is another terrific song, with the main highlight being the soaring dynamite guitar riff.

Not every song is hard-rocking on this album. Dea Matrona shows off their versatility and experiments a bit with some different styles. The results equal or surpass the rock-orientated songs. “Dead Man’s Heart” is a sensational honky-tonk foot stomper that will appeal to both country and rock fans alike. Meanwhile, “Glory, Glory (I Am Free)” is folk at its finest, has some breathtaking strings, and even features one of the best vocal performances off of the record.

The best song (though it was somewhat difficult to pick) from the record is “Every Night I Want You”. Everything about the track is majestic: the immaculate jazz rhythms, the funky disco guitar licks, the lovely and evocative lyrics, the hazy atmosphere, and the beautifully delicate vocal harmonies by Orláith Forsythe and Mollie McGinn reminiscent of Dolores O’Riordan of The Cranberries. Another remarkable thing about the track (and several songs from the record) is how timeless it sounds, and despite paying homage to past eras and artists, it feels ‘fresh’ and not like a cheap imitation.

Overall, For Your Sins far exceeds expectations and is one of the best rock records of the decade.

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