CD Review

The Sins – “The Last One Kills”

By Marcus Pan

The Last One KillsAs 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 Boy’s 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 provide.

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, it’s 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…without the 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.

Contact Information:
SINister Records
Post: 1539 14th Ave. South #1, Seattle, WA, 98144, USA
E-Mail: sinister@nightmareboy.com
Web: www.sinisterrecords.com