Optic Sink


Optic Sink Glass Blocks LP

OPTIC SINK conjures memories of the minimalist electronic delivery of SUICIDE or the art-punk vibe of CRASH COURSE IN SCIENCE. “A Silver Key Can Open an Iron Lock, Somewhere” is a cover of Switzerland’s LILIPUT, and connects OPTIC SINK’s sound to the icy pop of Northern Europe. There are elements of austere post-punk which draw parallels to bands like DELTA 5. While most bands are busy attempting to develop an overwhelmingly full sound, OPTIC SINK takes the opposite course and leaves vast expanses of audible space. Pop delivery is tempered with frosty dissociation, all while synthesized noises develop fresh euphonious environments.

Optic Sink A Face in the Crowd / Landscape Shift 7″

This is the new single from OPTIC SINK, a band that takes a very minimalist approach to synth punk and who released their debut album in 2020 through Goner Records.  Side A, “A Face in the Crowd,” reminds me of OMD’s “The New Stone Age” being channeled by the URINALS, while Side B, “Landscape Shift,” could have come straight out of Mute Records in the late ’70s, but not really, because it’s timeless—it actually inhabits a dimension of its own where some transhumans invited you to dance in a club that is a white room floating in the eternal ether of creation. It is really good.

Optic Sink Optic Sink LP

OPTIC SINK is the latest project from Natalie Hoffmann of NOTS, giving her an opportunity to explore some of the darker electronic influences that have been brought into that band’s wiry post-punk approach over the course of their last few records. Pairing up with percussionist Ben Bauermeister for this debut LP, Hoffmann creates strobing, analog synth-driven soundscapes guided by early minimal wave and electro-industrial outfits like the NORMAL and CABARET VOLTAIRE, with her detached-yet-commanding delivery of lines like “Can’t survive / You’ll always try” (from “Personified”) and “You can watch yourself / Under glass” (in the social media-as-identity-performance critique “Exhibitionist”) only underscoring the insistently paranoid instrumental pulse. In the year 2020, when the term “dystopian” gets thrown around at seemingly every turn to describe music that in any way reflects the harsh truths of the countless oppressive systems governing our daily realities, this is one record that truly earns that qualifier—if you’re up for it, embrace the void.