The Sins
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The Sins

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The best kept secret in music

Press


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 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.

Marcus Pan - April 2005 (#149)

- Legends Magazine


On the first CD:

Rock-Sound Review

"Nine years from Kurt Cobain's suicide and Seattle is still suffering post-grunge syndrome, a lethargy that deathrockers The Sins are doing their best to eradicate. With sights firmly set on the UK's mid-to-late 80s goth scene, The Sins manage to recreate both the Neph's arcane rock ambition and the Mish's Middle Eastern aspirations with confidence and flamboyance. They add their own twist in the tail in unconventional drummer Kris "The Cannibal" Kilian, the electric violin of Jyri Glynn and the haunting lyrical flair of vocalist NightMare Boy. With several storming tracks such as The Cure-like 'Rivers', 'Ecstasy in Oblivion', 'Angels' and the post-punk of 'So Many Ways' there's certainly no excuse not to heartily recommend these guys."

--- gileZ Moorehouse, Rock Sound Magazine, November 2003 (#54)
- Rock-Sound


"Let's talk about July. The first stop for us was The Central to see The Sins (www.nightmareboy.com). Nightmare Boy (lead singer)
has contacted us numerous times in the past, mailed a CD over, and even invited us to shows. For some unknown reason this was our first meeting, perhaps the Devil tempted us in other directions, as I'm sure it wasn't God. Either way, it was our loss to have missed this band live.

At first judgment, the exterior of this five piece group can easily be labeled intimidating, more of a dark force than a band. Black platform boots, leather overcoats, fishnet shirts and a black cowboy hat amplify their visual effect, elevating them in numerous ways.
In person though, they're hardly the sinister image they spawn. For all purposes, their down-to-earth attitude is a refreshing anomaly in Seattle's music scene, which is filled with god-like primadonna attitudes.

Their music, on the other hand, dwarfs their dark image, captivating audiences with cutting-edge diversity, endless depth and a fierce stage performance that truly puts The Sins in a category of their own. Their mixing of dark-rock (as J. van Huisman labels their sound) with an electric violin would appear quite a task for the best musician/songwriter, but The Sins accomplish this feat with
ease, even while performing Danzig's "Mother".

While I believe that most CDs fail to capture the essence of a band's live show, The Sins' self-produced CD on their label, SINister Records is a rare exception. Several tracks like "Nothing" posses a hero feel to them, as if they were written for a soundtrack, while others vary from hard lines to a hellbilly undertow, capturing diversity at its best. As their site claims, "If you're going to stick the Sins into a category, it had better be a broad one - this band does NOT do well with boundaries."

Chuck Foster, The Seattle Sinner, August 2005
- Seattle Sinner


Discography

The Beginning - 2002
The Last One Kills - 2005

Worldwide Airplay:

Rivers
Angels
So Many Ways
Day I Die
Little Girl Lost
Burn
Devil Behind
Nothing
Girl in Glass

Photos

Feeling a bit camera shy

Bio

The Sins emerged in 2001 as a post-punk entity (inspired by early Brit-pop bands such as Sisters of Mercy and The Mission, U.K. as well as American rock legends ranging from Danzig to The Doors). Since their inception, The Sins have consistently captivated audiences with dynamic stage presence, vigorous showmanship, and strikingly powerful music. With members from various backgrounds and disciplines (including a jazz-influenced live drummer and a classically trained violinist), The Sins boldly paved their own musical path, combining the familiar sounds of the British punk past with their own edgy rock influences and ideas. The result is a fascinating blend of genres and sounds from the middle-east-influenced tones of "Ecstasy in Oblivion" – to the old school punk feel of "So Many Ways" – to the darker, more melodic vibe of tracks like "Little Girl Lost" and "Nothing." Their 2002 debut CD, "The Beginning" quickly became a subculture favorite, spun by underground DJs from coast to coast, as well as in Europe.

2005 marks the unleashing of a heavier, more guitar-based sound for The Sins, with the release of their full-length follow-up, "The Last One Kills."