The Offering
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The Offering


Band Alternative Rock


This band has not uploaded any videos
This band has not uploaded any videos


The best kept secret in music


"Live in Norfolk"

Fredericksburg’s The Offering have gained real momentum as of late, and had played a live show in New York City the weekend before the Taphouse performance. The band uses a drum machine in lieu of a live drummer, making their sound really pinpointed and adding a lot of impact. Combined with keyboards and a passion for new wave bands like Joy Division and Kraftwerk, The Offering presented a whole different dimension to the show. Their performance was tight and captivating, which was a refreshing change from the norm, giving everyone a taste of some great shoegaze/industrial sounds. The set was really polished and created a real sense of ambiance for the venue. The Offering will be featured at the Walls of Sound Fest in Fredericksburg, VA on September 23rd, again alongside the evening’s headliner, Obit.

- The Red Alert

"The Offering"

I've often read about the way the peaks of Psychocandy's noise sometimes reflects the deepest troughs of inward looking personal torment or isolation, particularly in the track 'Something's Wrong'. The peaks of noise in The Offering I think reflect something more universal. They have mentioned in interviews before about how their music sounds like "terrorism", and when I hear 'Return Uncertain', 'Something You Can't Hold', or 'Like The Day You Stole The Color From Our Eyes', it sounds to me like an unleashed torment of terrorism, a torment which surrounds all and is inescapable.

As ever, what's most important with the noise is that it maintains a balance with the melody and never destroys it, and I think The Offering just about keep to that balance, although sometimes taking it dangerously close to the edge, which is perhaps their greatest appeal. They also have a video to 'Like The Day You Stole The Color From Our Eyes' which is well worth the visit, and if you like what you hear enough, you can order their album from their myspace.

My Space
- Lostmusic

"The Offering"

The Offering captures this real outdoors kind of feeling, despite entirely electric instrumentation. It feels to me sort of like a wild forest thing, an openness, at times driving (running), at times Ewok villages preparing for war. (Versus perhaps a feeling of claustrophobia coming out of the city.) [They] aren’t afraid to lay out a chord and drone on it (which I think is fantastic, and all to lost on a lot of todays parts for parts sakes post-punk bands). The guitar leads or solos don’t feel like solos (which is great): they feel like just extensions of the journeys. It’s kind of dark music but it’s still pop. The Offering kind of points sound-wise to a John Hughes feeling from the ‘80s, summoning the ghosts of Joy Division, Echo & The Bunnymen, Psychedelic Furs, New Order, but, it doesn’t feel like nostalgia. The songs themselves sound new & fresh, and come off as very now. It reminds me of the way NY-poets recontextualize already existing text and turn it into something new through cut-up, and in the process create new meanings out of it. So in the case of The Offering, the sound of 1980's Thatcher-era England is now re-contextualized in Fredericksburg, Virginia, 2006. - Cock-Now! Zine


Self-Titled LP 2005
Self-Titled EP 2007
Infractus Veneficus EP 2007
All albums released by Safranin Sound.


Feeling a bit camera shy


The Offering of Fredericksburg, Virginia are no stranger to noise violations. Started in 2005 by Charles Pinto and former guitarist and vocalist Andrew Cooke, the band's mission to modernize, but experiment with, what the two considered to be "the classics" was clear. As many bands had done in the past, the two forged their music on the foundation of guitar, bass, and drum machine, forgoing a drummer for no better reason than to create a unique sound. The band has only just recently added a drummer to the lineup.

Pinto's dark, primal rhythms encompass what becomes epic turns song after song, and his driving sometimes distorted bass lines compliment Brian Shatzer's percussion amply.

Upon Cooke's parting, guitarist Billy Noom took the role of lead quite naturally. His jangly but somehow still melancholy guitar work, leads the band efficiently guiding second guitarist Shane Huffman's harmonious and piercing riffs throughout the journey. Coupled with Huffman, keyboardist Chris Critzer provides at times eerie background soundscapes, but also fills the role as a strict keys player nicely. Critzer also fills in as second percussionist on many songs, yielding only a single tom-drum as his tool. The band's live show is a finely tuned psychedelic freak-out and their tendency to sound check and tune instruments at higher volumes than most band's entire sets has earned them a spot as one of the noisier independent bands in America.