The Opposite Sex
Gig Seeker Pro

The Opposite Sex

Band Pop Punk


This band hasn't logged any future gigs

This band hasn't logged any past gigs

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



Drop Dead Magazine (NY)

Worshipping at the altar of Joy Division is a trap many a post-punk revivalist falls into; fortunately these lads have other ideas. Yes, their self-titled E.P. has the grim and plodding feel that we all know and love, but it also injects heavy doses of new wave and even glam-punk into the mix, and it rarely hangs it's head in sadness. Instead the mood is almost one of grim determination, an atmosphere of lurking hope.

Their live performances are even better, with art-film adorning their faces. A heavier tribal sound is also apparent, and the band shake and dance across the stage, taking too much pleasure in their work for gloominess to settle in. These fellows obviously love their work, and it lends a palpable air of excitement to their shows. You can't help but dance along. One to watch for. -- Lakini Malich
- Drop Dead Magazine

This E.P. opens with "Dollhouse", which could be a buried, basement scratch tape from The Damned. The Opposite Sex has a clear 80's obsessions with a bit of modern edge. Throughout the four songs, there's crooning over subjects such as seduction, obsession and consuming regret. Vocals are on the backburner, set against lo-fi, plunky punk, and songs that disintegrate rather than end. Three songs in "The Sound" is the tightest tune, with upbeat bass revealing a heavy Peter Hook influence, meant for the dance floor.
--Selina S
- Sentamentalist Magazine (NY)

For me, any band who dares include "Punk" in their genre, anywhere has given themselves a lot to live up to. These things we can debate all day and night. Paramount for me is something to say. The Opposite Sex has that covered with The Sound. They also say what it is they have to say while delivering their lyrics and instrumentation with talent -something that doesn't *have* to be present in most punk genres. The guitars and percussion work with the vocals creating a driving sound force and plenty of energy.. The necessary frenzy is also there, but it is accomplished with an intensely melodic fervor. With The Sound, The Opposite Sex has lived up to the genre as well as doing something every band hopes to do; they bring their own sound to the table. Not an easy thing to in an industry where some claim "it's all been done." Cheers to The Opposite Sex for demonstrating that it just isn't so...

Khiki Kavan,
The Limelight Radio Show - Khiki Khavan - The Limelight Radio Show

THE OPPOSITE SEX – THE OPPOSITE SEX: The Opposite Sex is a trio living and performing in the beltway. Besides playing intense music, The Opposite Sex incorporates visual images into their live shows, adding to the overall experience. Their sound is a blend of alternative rock and post punk. On occasion lead vocalist Helton sounds like Robert Smith of the Cure. Helton also plays guitar and keys. Bernardi handles bass and guitars and Svrjcek plays acoustic and electric drums. Their self-titled, four song EP is rhythm heavy with dark, dramatic lyrics. The EP is energized with high octane guitars and driving beats. Some effects are used on the vocals to add diversity and drama to the music. The Opposite Sex are riveting rockers and their potent EP shows plenty of potential!
• Recommended Tracks: (3) [USA/DC 2005 - web] (Review by Laura Turner Lynch for -

It's a case of "spot the reference" for the first EP from New Yorkers The Opposite Sex. Thanks to the ghostly howl of frontman Shawn Helton and the angry guitars behind him, 'Doll House' makes for an arresting but slightly contrived start. 'The Sound' is a track which offers a good attempt at capturing the blistering energy of early Joy Division whilst final song 'All Consuming' explores the grim, drone-heavy work of Crispy Ambulance. 'Ceremony', however, is a melancholic jangly tune; a more refined take on their post-punk sound and perhaps the clearest indication of a new group establishing their identity. This will surely be the best way forward for The Opposite Sex, even if they are exemplary imitators. - Leonards Lair (UK)

This trio hailing from D.C. USA have clearly listened to the darker side of 80's music and absorbed it into their blood stream, citing influences such as The Cure, Bauhaus, TSOL, and The Damned really doesnt surprise you. From the second the music starts you can hear Rob Smiths influence in singer Helton's voice and feel the deep drag of the post punk sludge and dirge, the album follows a pretty tried and tested format of battle and balance between not only the vocals but the keyboards and bass trying to gain ownership of the sounds direction. There is one problem though, I personally love this style of music and thus I can appreciate and enjoy (if the word is fuly appropriate) but those to who have already decided this style is not for them, there is nothing new here that will change your mind. In short; good as this may be and as many underground dedicated fans as they will undoubtedly gain they will struggle to expand outside their self made confines until they can step out of the shadows of their older more established peers.
Reviewed by Phoenix - Devolution Magazine - UK

The Opposite Sex – “The Opposite Sex”

By Marcus Pan

A bright collection of punk-like guitars, Joy Division vocals and alterna-synths anchored together by swift drumwork and bass is what makes up the sound of The Opposite Sex. This four track EP has been released to precursor the band's expected full length release in late summer 2006. Made up of Helton (vocals, guitars, keys), Bernardi (bass, guitars) and Svrjcek (drums), this new outfit might be going places judging by their fast moving sound and nice combination of modern alterna-punk with old skool goth.

The fast paced Dollhouse opens this four track, a fast 4/4 tune with balls. Slowing things down, Ceremony builds on a smooth guitar that Bernardi's bass can wind into to create a nice power ballad score. The Sound has a very lively punk flavor, picking the pace up agan to what Dollhouse started. All Consuming has a heady bass laden aroma, disturbing synth work growing against the rhythm like mold. Vocals are whispery, deep spoken word punctuated by movements of strong fingered bass guitar, until the chorus during which Helton rips a high-pitched wail that shreds through the low-bass darkness. Bernardi's bass and Svrjcek's drums work well together as driving forces of the song.

A nicely arranged introduction to The Opposite Sex, this EP. It has their faster tunes like Dollhouse and The Sound with a 4/4 power ballad example, Ceremony, as well. This gives you a good idea of what to expect on their upcoming album, whether they're doing a faster score or not. - Legends Magazine (NJ)


I’m sure they will look back at this one day and cringe slightly, but they must feel no shame! With exuberance the key they plunk and dart and chuck themselves at the melodies in a quite contagious manner, so where there are brash or exposed moments, it isn’t a real problem, because what they’re doing is so good. With other bands you might raise an eyebrow, you cruel bastards, but with The Opposite Sex you’re too busy going down your checklist. Lively, tick. Passionate, tick. Intense, tick. Interesting, tick. Look liable to enjoy ticking things, tick.

It’s Post-Punk sure enough and they admit to cool, hard influences from TSOL to Killing Joke and, coincidentally, Bauhaus. Sleek, not slick, they rampage through ‘Dollhouse’ and you could place them on similar territory as Pins & Needles and The Torpedoes. With the bass a furious ostrich of bounciness and foreboding, the vocals headstrong and stretching like an echoing bridge over a guitar which angrily snaps at its own self-inflicted wounds, they’re a ball of dark energy, these boys.

‘Ceremony’ is a slab of misery from which a bittersweet chorus stands and dusts itself down, and there’s a light harmonious edge to their strolling which isn’t soft-headed because the bass is stern custodian and the song has a real dignity.

‘The Sound’ is frantic as they last waste to self-conscious control and attack, with a thumping lust and little scalding pockets of steadying resonance, before it slumps, brilliantly aggrieved.
‘All Consuming’ is a mini-claustrophobic heap at first, then vocals blare upwards like a column of distaste as drums nervously monitor the flow and the bass stays frowning throughout. What might make for a good moody opener live from which they’d explode onwards doesn’t quite work on record as it takes you out on a downer, but this is still a sizzling record overall, so keep alert for them. – they have the builders in - Mick Mercer

A riveting show is rare, and I can count on one hand the number of times that I’ve been truly engaged by the live performance of a band I’ve never heard before. After seeing them in Brooklyn last week, however, Washington D.C.’s the OPPOSITE SEX have been added to that list.

Although they held the early opening slot at Trash Bar in Williamsburg on January 14th, an attentive audience awaited the band. It was the kind of crowd that you know is serious about their sounds – not your usual overly groomed, tastefully alternative-looking hipsters, but a melange of people with a forceful, singular thrust to their aesthetic that’s not always so pretty. The real weirdos, if you will, who were more into haphazard dancing than checking their reflections in a compact. And with the opening strains of the Opposite Sex’s arresting post-punk, complete with a slightly saucy glam stomp, we were all swept up in the dark, staccato sway of the music.

Singer SHAWN HELTON’s theatrics are a major part of the magic of the Opposite Sex. He was the consummate frontman, with smudges of black makeup bleeding from below his eyes and a smoldering, intense stare that lasted throughout the set, completely selling me on the band.

Afterwards, listening to their self-titled four-song EP from 2005 confirmed my affection for Opposite Sex. “Dollhouse,” “Ceremony,” and “The Sound,” have great promise, although the recording fails to adequately capture the vigor of such songs live. “All Consuming,” however, the final track on the EP, is a much closer approximation of the exciting sound the Opposite Sex possess in person. The pounding, tribal drums and ominous bassline that crescendo into a space of spacious reverb succeeds in being, well, an all consuming sonic experience that recalls some of GREG SAGE’s best unhinged work with the WIPERS. All this band needs is better production and better album art to really have the total package. Watch for a new release in the upcoming months!

By Kristen Sollee
28 January 2007
- The Big Takeover


The band's new release, Live and Burn is coming September 1, 2009

Previous releases below:

The Opposite Sex (EP) was self-released in fall 2005 and is distributed through Dischord Direct, Projekt, and Interpunk.

Violent Heartstrings, the band's first full-length record, was released July 2007. It is distributed by Hungry Eye Records, CDBaby, as well as Ecke Archive (Cinema Strange distribution).

The EP and Full length album(Violent Heartstrings) has received airplay on Rader Report, a show on XM Radio featuring unsigned acts, as well as UMUC (MD), WGMU (VA), WRGW (DC), KXLU (LA), WZBC (Boston), WNRN (VA) and Radio Crystal Blue (NY).



The Opposite Sex has been described as “majestic, powerful, and ready to take on the current scene with rare fury”- Post
With the release of their 2009 EP, “Live and Burn”, the Opposite Sex breathes new life to its dark, post punk sound with elements of pop and 60’s psych.

Assembled in 2004, and inspired by the post-punk era’s harder acts, the band has gained a reputation for its swelling intensity, tribal rhythms and bittersweet melodies. A recent live show was reviewed by Big Takeover Magazine, calling the band “Arresting post-punk complete with a slightly saucy glam stomp.”

Obscure Sound characterized the group as having“a sound deeply layered with pulsating guitars and a tight rhythm section led by an infectious bass tremolo, lead singer Shawn Helton is like a melodramatically electrifying combination of post-punk legends Mark Burgess and Ian McColluch.”

With their third album “Live and Burn”, The Opposite Sex appeals to a broader audience, while still maintaining a dark persona. “Leave it All Behind” begins with an icy, emotional verse that breaks into a catchy, unforgettable chorus. For fans of their previous material, songs like “Same Big Bang” and “Frozen Heart/ Frozen Mind” depict a strange anxiety, over layered textures of aggressive guitars and drums. “Live and Burn” invites the listener to share a personal experience with a little nostalgia.

The band released a self-titled EP in 2005, which was well-received and earned them a slot at the fourth Drop Dead Festival at The Knitting Factory in New York alongside headliner Lene Lovich. Their first full-length record, “Violent Heartstrings”, was released in 2007 and has received praise from reviewers such as Mick Mercer.

The band has been featured on Radar Report, an XM Radio program dedicated to seeking out the best new alternative artists. The Opposite Sex is currently preparing for an east coast tour to support the Live and Burn EP.