After multiple delays and push backs, Deadsy have finally managed to land a record label that will stand behind them and support their long awaited sophomore album in the form of Korn's Elementree Records in conjunction with Dreamworks. As such their album "Commencement", which has been greatly reworked since its original limited release through Sire back in 1999, has finally arrived and will essentially introduce the band to the masses as a whole. A detached blend of gloomy pop tinged rock with new wave overtones, the band have often been lumped into the "death pop" genre or the "undercore" sound as they themselves have labeled it, but to the uninitiated their work featured on this album could probably be best described as a combination of the likes of Type O Negative, Marilyn Manson and The Joy Division.

Band frontman and mastermind P Exeter Blue I's drab monotone delivery is heavily melodic and yet in contrast to the bulk of today's bands it is intentionally lacking in emotional range, suiting the groups droning distorted guitar riffs and winding synth guitar rhythms to a tee. Backed by huge plowing bass lines that at times accentuate themselves with the aid of some light distortion, the music rolls onward with firm dedication and a clear vision to reach its eventual completion. A restrained drumming performance that is inherently organic and played with slow grace is implemented as well and locks the band on their often straight forward and unrelenting path.

The band excel at creating music that is eerie and immensely layered with a variety of haunting sounds while somehow also sounding barren and simplistic in implementation. A heavy electronic new wave influence is present on many of the albums tracks and can evoke a nostalgic flair for those raised in the 1980's while other songs cater more towards the gothic side of spectrum, establishing an interesting blend of music that is not often heard nor executed with this much expertise in this day and age. There are a few poignant tracks included however and they are actually disturbingly quite catchy like the albums first single "The Key To Gramercy Park", which features a guest appearance from Korn frontman Jonathan Davis. On the other side of the coin though there are tracks that flow forth at a near snail like pace such as "Future Years" and "Mansion World". Ultimately this is Deadsy's double edged sword as the greater share of the material on hand here relies heavily upon slow, unwavering tempos and quickly becomes repetitive as a result, a factor which is sadly only heightened by the songs being starkly devoid of dynamic elements. The sense of detachment and clever lyrics are conveyed well but they can hold only hold the attention for so long before the music begins to wear itself thin. Admittedly there is an enchanting quality to it at times but it goes without saying that this bands music is an acquired taste and will either alienate or bore those who are looking for something to take them through different emotions or those who are not already in tune to the stylings this five piece have immersed themselves in. It's a risky album to make and they deserve credit for trying something different as creativity can never hurt, but it would seem that without the bands much talked about theatrical live shows in place to compliment the music, there is little offered up here to keep the majority of listeners out there today interested in coming back for more.