"A delightful cemetery-and-western fusion that manages to combine the heaviest, pitch-black Goth tradition with rockabilly Americana." --Doktor John | The Aquarian

CD Review: Realize And It's Gone

Before I review the new Mark Sinnis album tomorrow, a look at the band he is in, with its most recent 2007 album. I think everyone will enjoy this, because we have a man, and band, capable of fusing Country and Gothic matters, like a Post-Punk/Rockabilly fusion, topped by quite superb vocals, of a calibre most bands within the scene cannot match, and although steeped in tradition the attitude and style of the music is totally modern. In ‘Long Stray Whim’, Mark instantly takes off above the casually desolate music like a human cannonball in slow motion, thereby discernible before vanishing into the distance. Stoutly catchy and yet still loose and headstrong enough for some squawking guitar action, it’s an impressive opener, because you realise here is a glowing entity.

‘Burn’ also strokes the air around you contemplatively, gloomy but active instead of supine and exhausted. A trio, in essence, their sound is bare, and clipped, the arrangements vigorous and demanding your attention. It isn’t necessarily easy to get anything out of the songs lyrically, which all have a point but hold back on detail sufficient to spin out any story, so you’re effectively snared in a mood, a setting.

‘Stretch Marks’ creeps into life, an agitated guitar spiralling over a sober rhythm, with some pert keyboards, all a little sweet bitter rock, rather than bittersweet. ‘Quiet Change’ snakes about with a weird commercial and melting guitar run. A dour ‘What Are You Waiting For?’ purrs with the vocal presence, the musical curtains tattered and frayed, blown around by the rock winds, but there’s still a grace and delicate touch for all the conventional bluster.

The dawdling rock of ‘Mistaken For Love’ is comparatively ordinary but by then you’re sucked into their sound and approach, so bob along with it, surprised by the abrupt close.
‘Skeletons’ starts as if by a fretful Stranglers, but rises softly and jauntily, and there’s simmering sentimentality and hungry hope rising through the full flow of ‘Out Of Reach.’
‘When The Sun Bows To The Moon’ circles a bit aimlessly, like an old Waterboys song restrained by an anchor. ‘Cause You Want To’ saunters sadly, then rumbles grandly and in a way reminds me a cooler version of The Hollies, if you know what I mean? They lob out a gritty cover of ‘Ghost Riders In The Sky’ before closing on the touching emotional tug-of-love that is ‘Realize And It’s Gone.’

It’s alternative in disguise, because the charm is open and the depth reassuring, inviting you in. The strange inner tension remains as a simple strain of thought, so you will find yourself lost in thought while buffeted by the sound.

-- Mick Mercer

CD Review: Realize And It's Gone

I previously had the pleasure to present to you, the FANGORIA MUSICK readership, the beautifully haunting sounds of Mark Sinnis (see review here) and his eerie mix of Goth and Country dubbed “Cemetery and Western”.  His soul-filled mix of genres bends lyrical and acoustic guitar styles into a fine eerie sound that seduces and raises hackles in equal measure. Here in we present the formal review of Mark Sinnis’s band Ninth House, a Gothic and Punk inspired take on pure Americana featuring Mark’s haunting croon. 

Formed in 1998 by Mark Sinnis and Francis Xavier after the folding of their prior band The Apostates, the act has taken the NYC music scene by dusty storm.  The act has indeed garnered major media attention with their single “Injury Home” featured on the hit show ANGEL.  Their latest release REALIZE AND IT’S GONE on Sinister Records heats up like a Sergio Leone cemetery with sun-bleached bones and beautiful backdrops.


Where Mark Sinnis’s solo work features a more acoustic approach, the sounds from Ninth House feature grittier electric guitar work more in the vein of classic Rockabilly and Country sounds of the late Man in Black or Willie Nelson.  Beautiful yet raw, the act also draws from modern punk the cleaner sweeping drums and epic melodic vocalization styles merging it with stark romantic and longing gothic lyrics.  This is indeed a deeply moving album that will have you dreaming of ghostly graveyards, rattlesnakes, bison skulls and ethereal love lost as ladies in black veils stalk the back alleys of Ghost Towns wailing in mourning for husbands and lovers lost to time.  A haunting album that should indeed be featured in Goth clubs the world over. 

--- Fangoria Magazine


CD Review: The Eye That Refuses To Blink

This is their second CD, a delightful cemetery-and-western fusion that manages to combine the heaviest, pitch-black Goth tradition with rockabilly Americana. Frontman Mark Sinnis's melodious compositions and rich vocals backed by virtuoso guitar solos, hypnotic rhythms and atmospheric synthesizer force listeners to look deep into the dark recesses of love, life and especially of death.

The album is loaded with rousing epic anthems dealing with the terrors of being at death's door, or even one fatal step beyond, and each is a morbid masterpiece.

Forsaken Psalm, a cynical gospel number prominently featuring a pipe organ, represents a collaboration with Goth idol Voltaire. Follow the Line presents an allegory of life as a suicidal drunken drive to destruction. One or two songs are happily written in a major key, but delivered with an irresistible rocking groove, and there are a couple of covers that do more than justice to the Real Life and Psychedelic Furs originals.

---The Aquarian | Doktor John


CD Review: The Eye That Refuses to Blink

With a voice as heartfelt as Michael Stipe's and a soul in the vein of Johnny Cash New York's Ninth House tears away the conventions of what gothic music is expected to be on their latest release "The Eye that Refuses to Blink." A blend of gothic rock and undertones of country are what greets listeners on this powerful and delightful record from the catchy "The Company You'll Keep" to the classic Goth sounding "Death Song." It's easy to say that Ninth House will become a mainstay in New York 's scene… that is if they have not all ready.
A personal favorite, "The Ghost in You," is a radio worthy track that borders upon a pop sensibility that is so achingly good that it's become a personally irritating fact of musical life that Ninth House hasn't gained lasting, mainstream notoriety for their skill as song writers. Again, vocalist Mark Sinnis' tonality threatens a Michael Stipe comparison, especially when we come up upon the chorus. It is hard, as a journalist, to get away with writing a review without throwing in comparisons to established artists so hopefully this comparison will be forgiven when the band reads this. It is meant with the most sincere praise that can be offered.

Country music influences come into play on the second favorite track, "Follow the Line," which is where the Johnny Cash comparison enters. Perhaps it is ignorance on my own part at Cash's own style but that is who comes to mind in the refrain. Regardless this song sticks in one's head for hours on end and refuses to go until "Once in an Ordinary Life" takes over. This song is a complete hit and should be the third stop on a first listen pass through. Again, there are undertones of a country feel to the track but it is absolutely perfect. It wouldn't sound right any other way.

I could go on and on about how great this album is but I will allow you to decide for yourself. Purists may be interested in checking out the track "Forsaken Psalm" which features the underground legend Voltaire from NYC. There is also a little bonus in the form of "Send Me an Angel" which was originally performed by the Australian group Real Life and it is definitely a noteworthy version.

Conclusion: Ninth House and their record "The Eye that Refuses to Blink" are a hit. Enough said.

---Northeast In-Tune/An Alternative News Publication | Review by Daevina


CD Review: The Eye That Refuses To Blink

What can I say about The Eye That Refuses To Blink by Ninth House? Well, to be perfectly honest, nothing. Ninth House is one of a handfull of bands whose music speaks for itself. I could sit here and tell you how great it is, which it is, but words just won't do this album justice. All I can say is Forsaken Psalm and Death Song are two of the best songs I've ever heard. In fact, this album is on of the best I've heard in a while, I'm going to put it up there on my top 5 favorites. They're a dark band and they bring that across in thier music with a brilliance that rivals no one.

---Lithium Radio


Cd Review: The Eye That Refuses to Blink

Yep, it’s old (2005), but I’m glad they sent it because it’s really very good. Apparently Mark Sinnis’ former band Apostates ran for ten years, and I confess I never heard them, yet that experience gives this semi-trad semi-Goth band great character and strength. With him being a bassist it also gives it a fulsome flavour. The keyboards and strangely cute, the guitar relaxed and winding around relevant moments of ‘The Company You’ll Keep’, the rhythm section acting like bellows in this song (the drummer also being ex-Apostates means so they’re tight as felons), and throughout the album. The quavering vocals are wonderfully clear, kept on a fairly even keel and then able to launch upwards in urgency for extra feeling.

‘Murder’ is closer to throbby indie, with another battering from crafty drums, squealy guitars and mild-mannered but passionate singing. ‘You Can Blame It All On Me’ has a really cool guitar motif and more pressing vocal mania over a bumpy ride. The well appointed strings give ‘The Ghost In You’ a melancholy start, but it keeps cruising along, shakes off any lethargy and folds neatly at the end, as they usually do. Then the furtive ‘Jealousy’ is hushed, with some lovely damp piano beneath the creepy joint vocals with Randi Russo, although its comparatively undemanding‘Murder’ is closer to throbby indie, with another battering from crafty drums, squealy guitars and mild-mannered but passionate singing. ‘You Can Blame It All On Me’ has a really cool guitar motif and more pressing vocal mania over a bumpy ride. The well appointed strings give ‘The Ghost In You’ a melancholy start, but it keeps cruising along, shakes off any lethargy and folds neatly at the end, as they usually do. Then the furtive ‘Jealousy’ is hushed, with some lovely damp piano beneath the creepy joint vocals with Randi Russo, although its comparatively undemanding.

‘Follow The Line’ sounds like a molten cello is employed as the song glowers frumpily and spills its morose guts and you know what’s weird? It’s like an American version of New Model Army! That’s more the Goth-relevant flair we’re talking about. ‘Once In An Ordinary Life’ veers back onto a plainer indie plateau, big and rousing. ‘Forbidden Psalm’ has a flamboyant air. A fizzy dark scuffle with Voltaire on board, it’s arch drama and works very well.

‘The Eye That Refuses To Blink’ is thoughtfully slow, broody Goth with deep bass, sighing vocals and trickling guitar. It actually builds in its sombre tension with massed backing and is quite the blinder. ‘Send me An Angel’ is a lightly flame-grilled seether, and quite poppy, but with a big gritty, gruff end, and ‘Death Song’ is a solitary voice over strings and synth, then the guitar chips in and the light, becalmed vocals float gently on their waves. From there it all grows steadily more melodically forceful to a clunking, chunky end and the vocal majesty makes up for some regrettably rocktastic guitar.

It’s a really good album and the majority of songs get better every listen. Impressive.‘Follow The Line’ sounds like a molten cello is employed as the song glowers frumpily and spills its morose guts and you know what’s weird? It’s like an American version of New Model Army! That’s more the Goth-relevant flair we’re talking about. ‘Once In An Ordinary Life’ veers back onto a plainer indie plateau, big and rousing. ‘Forbidden Psalm’ has a flamboyant air. A fizzy dark scuffle with Voltaire on board, it’s arch drama and works very well.

‘The Eye That Refuses To Blink’ is thoughtfully slow, broody Goth with deep bass, sighing vocals and trickling guitar. It actually builds in its sombre tension with massed backing and is quite the blinder. ‘Send me An Angel’ is a lightly flame-grilled seether, and quite poppy, but with a big gritty, gruff end, and ‘Death Song’ is a solitary voice over strings and synth, then the guitar chips in and the light, becalmed vocals float gently on their waves. From there it all grows steadily more melodically forceful to a clunking, chunky end and the vocal majesty makes up for some regrettably rocktastic guitar.

It’s a really good album and the majority of songs get better every listen. Impressive.

---Mick Mercer


CD Review: Swim in the Silence

Listening to this disc was an oddly pleasurable experience. In many ways, it feels like a throwback – swinging from a brooding intensity that resembles Jim Morrison and the Doors to the Furs to an absolutely wonderful gem buried in the middle of the disc that hearkens to the Smiths. Lead vocalist /bassist/lyricist Mark Sinnis seems to be something of a chameleon, although the darkness reflected in all of the previously mentioned artists is what ultimately ties the sounds together. There are simply some wonderful moments within this disc – whether it’s a singular piano run, or soaring vocals that have a strong effect on the tone of all these songs. I like the fact that the sound of Ninth House breeds a lot of familiarity to alternative bands of the past, but retains a beauty in and of itself that is fresh and inviting to the listener. There is a maturity and appreciation within the song structure that strikes a welcome chord.

The music itself absolutely deserves applause on its own. Often climactic and worked on a grand-scale that feels very organic and complex simultaneously, the intricate guitar work works well with a filtered drum sound very reminiscent of U2 – a solid underbelly that always seems to be driving the melody forward. While dark a lot of the time, the music glitters and jangles in the right places, and fills up the cracks and crevices left by the vocal performance. And what a vocal performance. Sinnis has a wonderfully rich tone – gorgeous on its own, but accentuated by the guitar and bass lines because his voice moves with an ease and versatility that would complement nearly any style of music. A natural vibrato that resembles Morissey, Martin Gore of Depeche Mode, Mark Eitzel of American Music Club, and a raw, passionate texture that emphasizes a Buckner/Jim Morrison growl makes his performance all the better. Not only does he have natural talent, but he’s able to translate the emotional element to his advantage.

Strong moments include the title track, a namesake, “Put a Stake Right Through It”, “Dissolve” and my favorite for the moment, “Your Past May Come Back to Haunt Me”. This is an amazingly well produced work, one that breeds a charm and affection for the band immediately. A great listen and an even better buy.

---Indie-Music.com