The Sins The Last One Kills
By Marcus Pan
As the new millennium began, Seattle gave
birth to another rock band influenced by early favorites like Sisters, The
Mission U.K., Bauhaus. The Sins have a strong appeal to a lot of people because
they have a bit more than most of your average gothic rockers they
infuse their sounds with gritty storytelling and urban legends and utilize
classically trained violinist Jyri Glynn. Details like this give The Sins an
edge over other gothic rock acts out there, adding more flair and melody to the
dark and brooding ensembles.
All members of The Sins have an impressive resume each in
their own right. NightMare Boys vocals and guitar are straightforward and
the rhythm provided by Fish Jones' bass and Cannibal Killian's drums drive the
tracks with speed and quickness. Lee Tillman, previously of 3SkS as was Jyri
Glynn, provides a no-nonsense lead guitar that shreds through solos and adds
tons more personality to the music than any single guitar act could
Dark from the start, The Last One Kills is a long 14
track album that can brood with the best. Combining elements of Doors lyrical
quality, Sisters and Mission darkness and gritty garage rock sensibilities,
its unpolished, raw and uncut. The Sins notch the bar higher for dark
post-punk rock acts of the day. Devil Behind the Door immediately
spreads its brooding energy and is good as any dark rock track out there
but adds the high melodic pitch of Jyri's violin, a piece lacking in just about
all other bands.
The Ballad of Mr. Thicket takes on an urban legend
story and treats it similarly to Johnny and the Devil's fiddle battle, or the
ghosts of Wooley Swamp. It's a great story told in a gritty rock style.
Love in Blood is our required sex song, delivered with loads of punch
with NightMare Boy's "Come on over here and fuck me" credo. The Sins want
everything from you in this song body, blood, soul, mind and heart
greedy bastards that they are. On the whole, Love in Blood is
almost stoner rock in make-up, a good slamming anthem of a song. Day I
Die is deep and throaty musically, almost garage level heavy metal in its
make-up, carried by Fish' bass through most of the verse sections.
Into the Chaos is about as slow as The Sins get, with
a strong power ballad here. Nothing is similarly slow paced, but
stronger in its riff work during chorus parts. Jyri's violin here plays a major
role, adding a brooding but somehow comforting melody to the song's black
lyrics and talk of betrayal. But let's temper the previous remark Jyri
man, what's with the squeaks in The Herd? The only time I disliked the
violin, it goes on squeaking siren raids during this track that I find doesn't
mesh well with the rest of the music at all.
The Sins have a good release here and have more to offer
fans of dark goth-rock music than most outfits as the underground goes through
another upheaval and returns to its roots (something I'm seeing lately).
Nothing but straight, no nonsense solid dark rock here
trappings of many modern accoutrements. Even classical violin plays a role in
this old skool quintet's style, and that defines the "more to offer" sentiment
I expressed above.
Post: 1539 14th Ave. South #1, Seattle, WA, 98144, USA