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6 of 6 people found the following review helpful:
5.0 out of 5 stars
One of the Best of 2002, and I mean that., July 14, 2003
Furious. Melodic. Smart. Complex. Skillful. Powerful. If you have had a good taste of Sinch's self titled album you know all those words so aptly describe the content. And what a great revelation I had at the first listen to this album. HA! I found the one nu-metal/hard rock album that DOESN'T sound like all the other ones! Really this album is a marvel of modern rock, not to be confused with separate genres, but stands above every similar band I have heard lately. The reason is the actually effort to be more varied than having different names for similar sounding tracks. The first noticeable difference is the vocals. They really create a darker mood than most other generic bands can, similar to Earshot and even the great Tool at points, the songs change along with the track numbers so distinctly that is hard to miss anything even on the first listen. The heavy guitars crunch in tracks and the vocals scream along behind, but Sinch doesn't waste a second and throws a brilliant acoustic number right in the middle of the set and then climaxes with an extremely inventive progressive piece that is heavy and brooding, but distorted and even calm at points too. The closer, "Arms length" could be bland if it were not following such a creative album. The fact is though, it fits perfectly because it brings the CD back to the point of entry as a hard rock band and although it isn't as experimental, practically not at all, and it still does carry a good rhythm and leads the album to a fitting conclusion. Sinch isn't going to shred out some riffs and throw vocals where they see fit. They don't imitate (Chevelle); they don't blend in (Seether). They are more like Injected, or Nonpoint who are smarter than the genre, who don't have to knock walls over to put a door in to see the other side. The album has a wisely selected opener as well as closer. "To Die in Fall" is a parade of heavy guitars and crunching melodies. The lyrics are definitely worth paying attention to, "I forget just why I lay here, to rise and bleed and die in fall". One of the keys to Sinch is that they have turned angry lyrics to a more poetic form, enough to sound more than simply hurt or angry. That makes, in turn, the music take a different level than most of their contemporaries. The just plain heck of a song "Tabula Rasa" is toned heavy and is just pleasing to a fan of hard rock on all levels. The pummeling bass line that begins the song runs right into the verse and then onto the screeching chorus of alternating screams and singing. One of the most intense tracks on the album, this song helps distinguish further a band that has done at least a couple more things right on their debut than just about every other band out there. The first acclaimed single is the following track "Something More". I was thrown back by this song on the first listen, but judged Sinch because of it. I was most hesitant to pick up this album because the song is so generic, even though it is still an excellent track nonetheless. The point is you can't say anything about Sinch until you hear the entire album, because it truly keeps you guessing. Following "Something More" is another furious track which grinds through the latter 2 minutes until it is finally released the songwriting and musicianship on this track, "Passive Resistor" shows that the band can do more than play, they can really create. As I mentioned before, there is that oddly placed acoustic number, "The Arctic Ocean". Strangely titled and the shortest track on the album, it serves as a buffer between the first half of the album, the more in-your-face and succinct section and the thought-out and captivating second half. You really have to love it when bands get better as the album goes on though. The heartfelt ballad-worthy eighth track "Plasma" is so beautiful it makes you want to cry, maybe not literally, but it honestly is one of the best tracks on the album, and really a gem of songwriting that gives this album the entire fifth star. You too will appreciate how the band takes a moment to sing a little bit and play a nice song before, the climax of the album, the aptly titled "The Silent Acquiescence of Millions". Running at over 8 minutes, it first appeared to be an attempt at a Tool piece. But no, the band spends barely 30 seconds of introduction before pummeling into the first verse, and the intensity of the chorus is not far behind. It winds between heavy bridges and even distorted interludes, but the finished product is one that will leave you with such an utmost feeling of satisfaction from the band. Another, almost, shift comes following the ninth track, and is the strange "bitmap". Probably the most creative work on the album, its lengthy introduction explodes into a blistering melody that really is the entire make-up of the song. After all this creativity and skillful playing, Sinch has appropriately made the last track as much of an anthem as there will be on such a monumental effort to be just a little different. Overall, this is the one nu-metal album I own that doesn't seem repetitive and boring. Sinch is one of the most talented acts to appear on the scene, and they have a lot of room to work with this album as a foundation.
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is Sinch's 3rd studio release. Browse Sinch's Discography 
