Sinister

Abrupt and punchy death metal from the Netherlands.

Hate Nuclear Blast 1995

Production: Clean and compactly loud. Review: As death metal dropped in popularity under the rising black metal movement, Sinister took the time to experiment with both a new dimension in aggression and the kind of harmonic centering within melodic composition that had worked for many black metal bands. The rhythms here take the intent of speed metal and merge it to a Florida-heavy band with the precision of many European epic outfits, crafting clean melodic lines and an intricate meshing of rhythms which suggests an elaborate manifesto of hatred. Tracklist: 1. Intro 2. Awaiting the Absu 3. Embodiment of Chaos 4. Art of the Damned 5. Unseen Darkness 6. 18th Century Hellfire 7. To Mega Therion 8. The Cursed Mayhem 9. The Bloodfeast Length: 39:47 Copyright © 1995 Nuclear Blast Muffled strumming of lead patterns builds to powerchords of either the resonant low end or the harmonizing properties of higher chords using custom internal harmonies designed to present multiple directions for musical followup among the choices available for phrase following the use of multiple notes simultaneously to achieve a state of synergy between properties of the sound waves. The raw and charging power of these fretruns meets a style of arranging songs which pits an accumulation of power against whatever absorptive negativity can be summoned through ambiguous dissonance or abrupt, chromatic explosions of unrelenting terse intonations of power chord, reverberating in the grinding melodic nullity of their attack. Repetition is tempered nicely but an inventive sense of change and utilization of epic confrontations in riffing that, combined with dramatic tempo and tonal changes, suggest conflict, continuity and ending of the experience through their inclination toward resolving the essential thematic wounds of each piece. What further propels this album is the cumulative stress and lust for release contributed by the intensity with which themes become inexorable, dominant and terrifying the perception common to metal of a world coming apart in thunderous disharmony. In the same way that Deicide albums would knead their listeners into their chairs or straightjackets, the later works of Sinister beat on any hope of sonic equilibrium with a capricious and beautifully abstracted violence. Given a chance, this band took a risk and made a far-reaching statement received gratefully by headbangers worldwide.

Bastard Saints Nuclear Blast 1997

Production: Clear and bountiful tones without any resonance, a modern type dissonant clean room studio. As each instrument speaks clearly however, there is no issue except with the mixing, which with the usual perversity overemphasizes other elements Review: Capitalizing on the success of their previous album "Hate," Sinister approach it with an EP of two songs from their exalted first album "Cross the Styx" and two new songs, plus introduction in the now-trademark style of their last album. Previous to that, Sinister's sophomore effort "Diabolical Summoning" had shown a band caught in the grip of potential slipping dangerously close to uselessness; in some ways this EP is reminiscent of that time, when indecision left songs as a few cool bits of riffs wandering in seas of ashen, meaningless shingles of chords collapsing on top of one another. Tracklist: 1. Reborn from hatred (0:54) 2. Bastard saints (4:38) 3. Rebels dome (4:00) 4. Cross the Styx (5:01) 5. Epoch of denial (4:15) Length: 18:50 Copyright © 1997 Nuclear Blast Each of the new songs bears similarities to heavy rotation tracks on "Hate," using the abrupt strumming riffs of a death metal band to potentiate some material closer to Pantera than death metal; by putting the expectation in a riff on a off-time double strum, Sinister achieve a catchy bounciness similar to material in more of a commercial metal vein. Both pieces fashion characteristically abusive mutations of chord progressions into brutally simple boomerang riffs, and hold together rhythmically where composition falters. The previously-composed songs from the first album of this Dutch band, "Cross the Styx" and "Epoch of Denial," reveal Sinister trying to adapt to a previous style of death metal, breaking it down where necessary to keep the rigidity and vocal-dominance of newer stylings to the band. Whatever failings exist, this metal has surpassed "Diabolical Summoning" and demonstrates the simple power of this seductive sub-style to the aggressive front of death metal.

1. Sadistic Intent 2. Magnified Wrath 3. Diabolical Summoning 4. Sense of Demise 5. Leviathan 6. Desecrated Flesh 7. Tribes of the Moon 8. Mystical Illusions

Diabolical Summoning (Nuclear Blast, 1994) Since the first album, Sinister have improved instrumental precision, and feeling thus liberated assault us with an album of reasonably technical riffs tied together by a hookish melody in the style associated with bands such as Gorefest, Dismember and early Gorguts. While these songs often seem too sparse in their constructive affinity the essential tendencies in songbuilding are beating under the thick skin with a passionate heart, even if the end product like later Gorefest often ends up disassociated in its joining of complex cyclic themes. Vocals are iron-tough and levelled at the listener directly with a gravely dead monotone. Percussion remains adept but vigorously underscores key points of phrase almost too directly. As a whole, this album was a wise transition between "Cross the Styx" and the more together compositions later to come.

1. Intro (The Upcoming) 2. Aggressive Measures 3. Beyond the Superstition 4. Into the Forgotten 5. Enslave the Weak 6. Fake Redemption 7. Chained in Reality 8. Emerged with Hate 9. Blood Follows the Blood

Aggressive Measures (Nuclear Blast, 1998) Within the compact delivery system for pounding yet thoughtful metal in the style of their shattering "Hate," Sinister expand song structures and move away from any kind of harmonic centering of structural elements in song in the way that the songs on their previous album were anchored to a framework by the properties of their notes and thus contributed a romanticism of beauty in storming emptiness. Abrupt riff patterns drop into punchy encoding of central rhythm in fragmentary derivates, or lightly take off into tremolo picked ripping speed riffs. Vocals are coughing blurt and guttural accompay the development of verse and chorus. Where necessary, songs mutate in structure, but this does not occur to an unusual degree and thus Sinister make here a more straightforward album with more complexity in linear detail.

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