Some bands gained prominence because of their influence on other musicians but were given less credit by fans years later because they no longer had current releases. The Dutch death metal assault Sinister crafted three albums of great influence but then faded away in the mid-1990s, leading to fewer people mentioning their place in the death metal canon.19 Comments
Underground death metal legends Sadistic Intent are the only good band currently booked for the 2018 iteration of Maryland Deathfest, North America’s premier SJW pandering pseudo-metal festival. The only other notable booking is Sinister, who are playing with a heavily gutted lineup with Aad Kloosterwaard as the only original member. He doesn’t even play drums anymore but just does the vocals now. Headbangers would be wise to avoid this yearly reoccurring cancer.12 Comments
Dutch death metallers Sinister return in 2014 with The Post-Apocalyptic Servant. Sinister is a band most notable for the classic death metal offering Cross the Styx which wielded basic yet effective death metal. The quality of their releases waned since that time and after their ’98 effort Aggressive Measures, the flame became an ember (as is the common fate of early death metal bands).
Twenty one years after their debut, Sinister progresses their decline with this album. The riffs — while intense and biting — lack context, making the songs bland and disingenuous. This is an album of “moments”: no song on this album is good in its entirety, but certain details stand out. This isn’t the musical journey that death metal is supposed to convey; this is an exhibit of a handful of decent riffs spread out over the course of an underwhelming ten track album. Even their cover of “Fall From Grace” is lackluster and forced. It’s also an album that gets progressively worse as it plays through, like a runner sinking in quicksand.
The production is just as unsatisfying as the album itself. Completely synthetic and somewhat reminiscent of modern tech-death bands with the only trace of atmosphere emanating from the leitmotif at the beginning and end of the album. Everything else sounds like it was put together in a factory with some spare parts laying around. The result is an album that does not hold up. Memorable riffs without structures that could give them the life they need create a vicious, but not captivating, attempt at a comeback.
Thunderous Dutch death metal assailants Sinister return with a new album entitled The Post-Apocalyptic Servant which is slated for release in May 2014. The album will be released on Massacre Records and includes covers of songs by Morbid Angel, Agent Steel and Paradise Lost.
Sinister have released a sample track, “The Burden of Mayhem” in advance of the album’s entry into the market. The band made its name in the early death metal years with Cross the Styx which combined the percussive and fast tremolo sounds with an underpinning of melody, creating a mood between the aggressive darkness of American death metal and the melancholic emptiness of its European cousins.
Although it was legendary for Cross the Styx, Sinister probably peaked with 1996’s Hate, which combined the best riffology of percussive death metal (Suffocation, Pyrexia) with the type of unsettling melodies previously only found in black metal. The Post-Apocalyptic Servant (which is hopefully about Satan as the cover hints) will contain the following tracks:
- The Science Of Prophecy
- The Macabre God
- The Sculpture Of Insanity
- The End Of All That Conquers
- The Masquerade Of An Angel
- The Dome Of Pleasure
- The Post-Apocalyptic Servant
- The Art Of Skin Decoration
- The Saviour
- The Burden Of Mayhem
- Fall From Grace (Morbid Angel)
- Deadly Inner Sense (Paradise Lost)
- Unstoppable Force (Agent Steel)
If you can imagine a hybrid between older Grave and Centurian, you have the essence of the new Sinister, which like side project Houwitser specializes in fast, simple riff-fests that evoke ancient feelings of ornamented function like the spires of historical castles.
Like fellow high-speed metal legion Angelcorpse, the songs on this album rush forward with unrelenting speed and battery but slow down for moments of melody or artfully-suggested pauses, like a knight resting on the crest of a valley before battle. Many of these riffs will be familiar patterns, not just from death metal but types of melodies famous in other ages.
To keep that from being overwhelming, The Carnage Ending features many of the fast and aggressive chromatic riffs that build tension and heighten energy in the way they did on the first three albums. While this album is not as carefully put together as Cross the Styx, and has more redundancy among riff types, it maintains its memorable moments in a sea of high-energy blasting.
The Carnage Ending erupts from a pure old school death metal background and does a more than credible job of rendering itself. Some of the chaotic material on here seems offhand, but the songs have been trimmed back so that they are expressive and not disorganized. The result is hard-hitting, raging death metal from more than one former age.3 Comments