There are records that feel built for the hour after midnight, when a city becomes less certain of itself and every neon sign looks like a private warning.
“Sins Lies And Devotion“, the full-length album from Mexican indie artist Alexy Trip, belongs to that hour.
It does not ask for daylight. It prefers corridors, rain-heavy glass, empty streets, and the kind of memory that returns only after the noise has settled.
Across nine tracks, the LP turns guilt, longing, and attachment into a brooding electronic pulse, drawing its power from darkwave melancholy, 80s synthpop motion, and the severe elegance of classic New Wave.
Alexy Trip arrives here with a clear artistic identity. The press release places him as a Mexican indie artist working through analogue synthesizers, cinematic textures, and emotionally driven songwriting, a description supported by public metadata that lists “Sins Lies And Devotion” as an album with nine songs and a running time of 38 minutes and 31 seconds.
That detail matters because the album has the discipline of a complete statement. Its titles, SINS, LIES, DEVOTION, HARD TO SAY GOODBYE, LOVE AND CARING, IN MY DARKNESS, form a moral weather report, each phrase hinting at a private argument between appetite and remorse.
The album also carries a useful international signal. According to the supplied release notes, independent radio stations and curators in Germany, Poland, France, and Canada have already given the project support, a fitting development for music that speaks fluently in the grammar of post-punk shadows and electronic restraint.
What keeps “Sins Lies And Devotion” from becoming pure imitation is its emotional temperature. The production leans into analogue color, not as nostalgia, but as a way of making machines feel bruised.
The synth lines seem to glow from inside a locked room. Drum patterns carry a steady forward pull, but even the danceable passages hold something unresolved in the chest.
On DEVOTION, public metadata lists the track at 134 BPM and classifies it as electronic, with Alexy Trip as performer and Alejandro Arteaga credited as songwriter. That tempo suggests movement, yet the album’s deeper interest sits in the friction between motion and burden.
The focus tracks, SINS and LIES, give the record its spine. SINS, placed first on the YouTube album playlist, runs 3 minutes and 33 seconds, a compact opening that frames the record as confession before escape.
LIES, at 4 minutes and 29 seconds, deepens the album’s central drama: the uneasy knowledge that falsehood can sometimes become shelter before it becomes prison. Alexy Trip writes from that uncomfortable middle space.
The record does not flatten desire into pleasure or devotion into virtue. It lets each feeling keep its stain. One thinks, oddly but fittingly, of Caravaggio’s paintings, where sacred figures appear under violent light, flawed and alive, with holiness and damage sharing the same skin.
As a Mexican darkwave and synthpop album, “Sins Lies And Devotion” also speaks to a wider independent movement that no longer treats retro influence as costume.
The 80s references are audible in the album’s architecture, yet the feeling is contemporary because emotional contradiction has become one of the dominant conditions of modern life.
We confess in fragments, love through screens, revise ourselves in public, then return at night to the same private questions. Alexy Trip makes that condition feel physical.
His retro-futuristic approach gives the album a cold frame, but the songwriting keeps pressing warm fingerprints against the glass.
The most convincing aspect of the LP is its refusal to rush its own darkness. It trusts mood, repetition, and restraint. That choice will appeal to listeners who value Depeche Mode’s dramatic devotion, Boy Harsher’s shadowed club pulse, and New Order’s bright sadness.
If there is an area for growth, it may be in giving future vocal and lyrical shifts a sharper edge. Still, the album’s restraint is part of its character. A locked door can be dramatic without ever swinging open.
“Sins Lies And Devotion” presents Alexy Trip as an artist with a coherent vision and a strong command of atmosphere, pacing, and emotional suggestion.
Its best moments do not shout. They stare back. In a time when so much independent music fights for instant reaction, what does it mean for an album to ask the listener to stay with discomfort until it starts to move like truth?
