The Sins
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The Sins

Seattle, Washington, United States | INDIE

Seattle, Washington, United States | INDIE
Band Alternative Rock

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"July 2010"

The third album from Seattle’s gun-slinging all-star gothabilly-punk underground favorites, The Sins, erupts with a bang! Gunfights, guitars, and audio-technology storm into The Undone; rolling over a rockin’ precipice by the outstanding violin work of classically trained violinist, Jyri Glynn.
“Abigail,” my favorite track from the album, sets the mood for a dark goth-alt-country feel, with the electric fiddle embedding a delightful earworm that won’t soon leave your psyche. “Abigail,” a track recorded in 2009, was The Sins first single in 4 years.

Mosey into “Sintown”, another favorite track, where vocalist J. Van Huisman croons a bawdy ballad worthy of those lusty residents ofDeadwood.

Hailing from the Wild, Wild (North)West, The Sins reunite to bring us this long awaited album. Is The Undone to be The Sins swan song? - Music Artery


"August 2010"

Rising from the Seattle underground music scene in 2001, The Sins return with their first album, Undone since regrouping after a brief hiatus. Being unfamiliar with this band was probably the best thing for this listener. Why? Billed as 'dark' rock, I wasn't quite sure what that meant. The Sins' roots are found in a post punk tradition, yet you can hear influences as far-reaching as Brit pop to American pop and rockabilly to pseudo-Seventies Doors. But that description will probably get you no closer to the sound of The Sins than anything else.

Undone is eclectic and varied, and more often keeps you guessing. Compare the gothic and unearthly Chi Chi to the following rockabilly punk groove of Temple of the Midnight Sun. Or from dark goth punk of El Guitarro to the synth pop rock of Abigail. Some stuff is just crisp heavy rock, with synths of course, like No Tomorrow. The tapestry is broad, and the movements both unsettling and entertaining. Sometimes I think somebody threw The 69 Eyes, HIM, and Sisters of Mercy into a blender and hit the mix speed.

Then I listen to clever rockabilly meets catchy country pop of Sintown and I throw up my hands and scratch my head. One thing's for sure: I can understand how The Sins were a cult sensation in their native Seattle and a potential underground legend elsewhere. While diversely eclectic, The Sins' Undone is wildly vibrant, creative, and entertaining. I'll bet they put on a darn good show, too. Check them out. - Danger Dog Reviews


"September 2010"

Reactions to albums can fall into several different categories. There could be an instant love or hate reaction which doesn't alter. It could be that you find yourself not knowing what to make of it (and I seem to have had a few of those recently). Then there are the albums you really want to love but just don't understand why they are disappointing. And then there's the slow burn, the album that has appealing moments at first listen but overall induces a "meh" reaction, but which you go back to a few times, not really knowing why, and all of a sudden it hits you that what you are listening to is pretty damn good.

Third album from The Sins has been like that for me. Returning after a four year hiatus, the Seattle post-punk rockers have a third album which fucking rocks. Even if it did take me three or four listens to really recognise that.

There are tracks which get you right out of the gate: Arms of Devoria has a fabulous bass led intro, a richly gothic sentiment and a sinuous quality through use of strings. That the five piece includes a violinist slightly throws you for a loop initially, but it's a fantastic idea. Opener El Guitaro has added depth because of the underlying strings, although it's the drums that really set the pace and drag the guitars along with them. Some wonderful hooks here too. Temple of the Midnight Sun is in the same vein, a rollicking bit of guitar-driven dark rock.

And then again, there are the tracks which make you think "what?!" Sintown is reminiscent of The Doors' Alabama Song - it has a faster pace but a similar rockabilly bounce, and if you can get the damn thing out of your head in less than an hour you're doing better than me! I love it but it just comes totally out of left field.

You've got dark rock, brooding power ballads and a shot of countrified rockabilly. And ultimately you have a band with a really strong album which I can see is going to be on rotation at GD towers for a good long while. - Graceful Degradation


"October 2010"

Album Review: The Undone (2010)
For fans of: Alt Rock... and folk 'n' prog 'n' more...

Seattle act The Sins - J. Van Huisman on vocals, Lee Tillman on guitar, Fish Jones on bass, Jamie Knox on drums, and Jyri Glynn on violin - started back in 2001 as (according to the press blurb) a post-punk entity inspired by early Brit-popbands such as the Sisters of Mercy and The Mission, as well as American rock legends ranging from Danzig to The Doors. You know what? You can definitely hear those influences... but there is a lot more to this band besides.
"The Undone" is their 3rd release, following their 2002 debut "The Beginning" and their 2005 follow-up "The Last One Kills". There's a definite cult feel to the act meaning they'll probably never be massive, but they'll always have a devout and deserved following. It's been a five year wait since the last album, and I reckon the fanbase should be very happy with what they have waited so patiently for.

"The Undone" is a mix of styles from all over the place. Those British goth punk/rock/pop influences are strong in places, yet they vanish in others. Occasionally the band turn into Pink Floyd. In others they sound (thanks to the violin) like a softer version of Skyclad. All in all this is a band with a very interesting take on alt rock, and so many facets most people should be able to find something to like.

Best moments include the vaguely-grungy 'El Guitaro', the folksy 'Abigail', the exceptionally rocky 'Arms Of Devoria, the indie charms of 'Stone Goes Cold', the proggy 'Chi Chi', and the cartoonish folk of 'Sintown'. The track order could have done with being different as most of the top tracks are at the start, but that's a small moan.
The Sins have produced something pleasing to the ear with "The Undone". It's too scatty to be absolutely brilliant, but music doesn't get much more characterful than this. - Rock Realms


"October 2010"

The Sins - Undone
Post-Punk

Dark, melodic, post-punk rock that plays like a journey through a dark western. Instrumentals are tight, with close to four years since the band's last album that is an accomplishment, vocals that fit the music's tone and lyrical content perfectly. Lyrics that tell a full story in each song... there's not much to find fault with on Undone.

Pacing also fits the tone and concept of Undone, keeps well with the dark western motif. Before scratching your heads at the thought of a post-punk western with dark overtones and a touch of steampunk, just trust this reviewer on one thing; it works and it works pretty damn well. At least when executed by The Sins.


Track list:
"El Guitarro"
"Abigail"
"Arms of Devoria"
"Stone Goes Cold"
"Chi Chi"
"Temple of The Midnight Sun"
"Wrapped"
"No Tomorrow"
"Don't You Cry"
"Sintown"
"Tonight"
"Undone"

Choice cuts are "El Guitarro", "Abigail", "Stone Goes Cold", "Sintown", and the title track.


The Sins get a 4 out of 5 for Undone.

Roll call: J. Van Huisman (vocals, rhythm guitar), Lee Tillman (lead guitar), Jyri Glynn (electric violin), Fish Jones (bass), Jamie Knox (drums). For more from The Sins visit www.thesinsband.com.


- Michael Meade - Tastes Like Rock


"October 2010"

The Sins – The undone
Opening with the high velocity El Guitarro this album has a great feel to it, and just when you think you have these fella's weighed up they change the pace and do something laid back like Chi Chi. A stong album and well worth exploring. - CRMK Radio


"May 2005"

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…
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, Legends Magazine (#149), May 2005 - Legends Magazine Online


"February 2005"

“Wow, I really don't even know where to begin with these guys. OK, here are some basics, they come from the Grunge mecca of Seattle, this is the follow up to their 2003 debut disc "The Beginning", and the sound that they're hip to is Goth-Rock (or if you prefer, Death-Rock), but it is also so much more than that. Their main influences come from the old-school bands of the genre, Sisters Of Mercy, The Southern Death Cult, Fields Of The Nephilim, The Mission, Children On Stun, early Rosetta Stone, etc. Now, don't go thinking that they're just another Sisters clone, because even though they utilize elements pioneered by the grand-daddy of all Goth bands, the end result that The Sins deliver is vastly different to anything that the SOM ever committed to wax. Along with the Goth element, there is a strong Punk vibe, and every now and then there are moments that make you think Metal. I guess you could say, these guys have a strong respect for the rock. Other Goth bands like "London After Midnight", are born from the same root influences, but LAM seems like a polar opposite to The Sins. One could imagine The Sins breaking into a live rendition of "This Corrosion" almost as easily as Danzig's "Twist of Cain". Each song on "The Last One Kills" is highly unique unto itself, and never sounds like the track that preceded it, nor like the one to follow. Some songs, like "Heaven", are light, and almost folk-like in nature, others, such as "Love In Blood", are grand, bombastic affairs, while still others, such as the showstopper "Walk", are more mid-paced, but filled with an oppressive, cryptic feeling of doom. Quite frankly, this disc knocked me on my jaded ass. It has sat in my CD player for days on end now, and I do not yet have the ability, or the desire to even think about removing it.... Hopefully this gem gets the recognition it deserves.” 9/10
-- Jeff, Urotsukidoji’s Pad/Webzine, February 2005 - Urotsukidoji's Pad/Webzine


"February 2004"

" 'Acid trips, a rainbow drips, Blood is in her eyes, Now she's gone Higher and Higher, Like an angel in the sky.' With deep gravely vocals and lyrics such as these (as well as Jyri's Electric Violin playing) how could this band go wrong. The Beginning is hope for all of us Elder Goths that the great UK bands of yore would still have some fans. The music on this cd stands up really well next to the best of the Mission UK's stuff and better then 90% of the Sisters of Mercy.
The song Angels is my favorite song on this disc but I'd be hard pressed to choose any songs that aren't as well written or well played. I hope all of the Sins side projects sound as fantastic as this one. A very good beginning this is for four people from the Pacific Northwest to take over the gothic-rock world. Catch them live soon or you'll have to catch them opening up for Bauhaus's 25 year reunion."
- Azrael Racek, GothicRevue.com, February 2004 - GothicRevue.com


"November 2003"

"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 Magazine


"Issue #19"

"Heavily influenced by U.K. bands such as Southern Deathcult, The Mission and Fields of the Nephilim, this guitar heavy band is winning over the hearts of gothrockers everywhere."

-- Meltdown Magazine on The Sins, Issue #10 - Meltdown Magazine


"The Sins The Beginning"

Formed from the ashes of Seattle's Tri-State Killing Spree (3SKS), The Sins carry the gothic rock beacon with the same level of panache as our very own Faces of Sarah.
There's a good pinch of influence from old-school bands like The Mission, Fields of the Nephilim and even The Cure, which all add to The Sins' dark guitar-
driven sound. Hell, vocalist NightMare Boy even sings like a huskier version of Wayne Hussey! However, it's not all nostalgia as the five-piece combine the odd spot of contemporary programming, which lifts their music into the 21st century, while So Many Ways carries a very heavy deathrock vibe.
With songs as sleek and beautifully composed as this, it shouldn't be too long before these boys get snapped up and start playing gigs outside their home country. Natasha Scharf - Meltdown Magazine Issue #13


"August 2003"

"The Beginning, delivers a broad-spectrum of goth-a-billy delights, providing an impressive range of styles from the 80's-sounding "Rivers", to the surf-goth guitars of "Burn". One might mistake some of that delicious synth-sound as keyboards. Listen more closely. The processed sound of a bowed violin, courtesy of Jyri Glynn, delivers intensely sexual rhythms. I like the "back to the basics" feel of The Beginning. Guitar, bass, and drum, with melodic hooks, and the tremulant vocals of Nightmare Boy growling at us in true punk-goth-rock fashion…"
-- Sonya Brown, Gothic Beauty Magazine, Issue #10, August 2003
- Gothis Beauty Magazine


"January 2003"

"Gothic Rock the way it should be. Our generation's version of bands like The Mission UK, Fields of the Nephilim and The Cult. This is big, gritty, full tilt rock with all the darkness, brooding anger and mystery you could ask for. Immensely talented musicians from various backgrounds contribute making this band one of the most musically sound bands I know who can pull off amazing improvs at their live shows functioning as one like-thinking organism. It's absolutely amazing what these guys can accomplish."
-- Blu, StarVox Music Zine, January 2003 - StarVox Music Zine


"November 2002"

"Having been privy to the early development of this band from their inception to the final product which sits in my CD player, it is amazing how much The Sins have grown in style and sound in the span of a little over a year. It is redeeming to see this hard working band receive the accolades and top spots at sites such as Ampcast and Radi01.com, demonstrating that the market is still craving for this style and sound with a vengeance.
Those who have been fortunate to see The Sins play have reported how vocalist Nightmare Boy simply exudes a sensuality with a lion like fervor. Listeners to their music will find some of this element seeping off the CD , particularly with the heavy uptempo tracks where he reaches down into the gut to really pull out the song.
If you need a little more decadence in your life, reach out and grab The Sins!"
-- Mike Ventarola, StarVox Music Zine, November 2002
- StarVox Music Zine


Discography

Released albums:

The Beginning - 2002
The Last One Kills - 2005
The Undone - 2010

Photos

Bio

The Kings of Death Rock, Rock, Hard Rock, Dark Rock, Dark wave, Alternative, Goth, Goth Metal and all things delicious and evil. The SINS are the founders of the legendary Sinister Records and complete rulers of the universe. With their ravenous sounds, The SINS are known to make women swoon and faint; only then to fall in love and worship them to a level that no mortal man could ever match. The sound of the SINS can drive a sane man to do vile, unspeakable acts upon the merciless society that he has come from. BOW DOWN, WORSHIP, AND OBEY!! You have been warned.

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 former thrash/speed metal 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 marked the unleashing of a heavier, more guitar-based sound for The Sins, with the release of their acclaimed full-length follow-up, "The Last One Kills," hailed by Gothic Beauty Magazine as "a fun and original take on post-punk rock" and "rebelliously motivating."

The Sins went into "hiatus," in Summer 2006 with the hope of regrouping to record a 3rd CD. Now after nearly 3 years of silence The Sins are back in 2010 and better than ever with the release of “The Undone”. A collection of 12 songs that combine raw power with haunting melodies like no album has done before.