Review by Doktor John for The Aquarian Weekly

It Can’t Be Undone —The Final Sound 

This new musical project showcases the collaborative songwriting abilities of three scene veterans to produce an ultimately listenable,11-track album that spans the best-liked genres from rock to shoe gaze to Goth. Pablo and Gonzo, formerly of the band Fragile, have recruited tech wizard and bass player George Grant to provide stylish vocals that capture the disconsolate, plaintive feel associated with The Cure and other 80's icons.

Lyrics and melody prevail over rhythm in dreamy hymns. The stress is on grief-stricken feelings masterfully vocalized by George Grant and skillfully supported by guitar accompaniment and decidedly purposeful percussion. Some tracks are somber and carefully slow-paced, whereas there are also sufficient examples that rock the house with rousing anthems.

This album packs an emotional reward to lovers of melancholy music aimed at protesting life’s predicaments. It captures that theme with skilled composition, instrumentation and vocalization making it a pleasure to listen to.  The fourth track, “Rainmaker” and the penultimate, tenth track, “The River” have been released and are already available as videos on Youtube. The whole album will be available on all major streaming platforms and distributed by CD Baby.




If you’re always looking for the latest evolutions in Alt Rock, that’s exactly what you’ll find in the latest genre-mashing single “Crimson Skies” from the NYC-based trio The Final Sound.

While you’ll find plenty of elements which will drive you right back to the golden era of Shoegaze and Post Punk, you’ll also appreciate the contemporary Alt Rock drive and ingenuity which has been put behind the single.

Fans of Joy Division, the Cure, and Depeche Mode definitely shouldn’t hang around in placing the Final Sound on their radar. Their ability to capture the atmospherics of Post Punk and infuse it into a contemporary veracious single set the Final Sound apart with perceptible distinction. Needless to say, it’s accessible from the first hit, which may have a lot to do with how much synergy is found in the seamlessly tight instrumental arrangement.


Review by Amelia Vandergast for ANRFACTORY