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RECORD REVIEW: SINSAENUM | REPULSION FOR HUMANITY
DROPS: AUGUST 10, 2018 | EAR MUSIC

Sean Zatorsky: vocals | Attila Csihar: vocals | Frédéric Leclercq: guitar, bass, synth, vocals | Stephane Buriez: guitar | Heimoth: bass | Joey Jordison: drums

Repulsion For Humanity is the follow up to Ashes from the super-group SINSAENUM. If you recall, I dubbed Ashes as one of the most frightening covers from a metal band back in 2017 when the record came out. The new full-length offering from the band and Ear Music is a requiem for the brutality of humanity transcribed by tiny alien-like beings that reside in the instruments and perhaps even the minds of the FREDERIC LECLERCQ and JOEY JORDISON. They lead SEAN ZATORSKY, ATTILA CSIHAR, STEPHANE BURIEZ, and HEIMOTH in an insane march towards or away from the perils of darkness, whichever you’d like and release the incarcerated power of music that can be in all of us.

Instead of me explaining this, let me let SINSAENUM explain it through me…

REPULSION FOR HUMANITY – title track for the album, this track is like the inner child’s malevolent mantra or the rhythm of the damage done by humanity…I love the chunky pelting tempo in the middle. It makes that wounded little girl in me smile, all the while flicking those demons off a cliff. With every growl and charged call to arms, this track delivers the sound of sin epically.

FINAL RESOLVE – nice riff that lines up to those gains as they begin a psychological race. As the chorus fires off and jolts the tempo of the double bass echoes the fight or flight phenomenon. The guitar solo leads you down this path that is fueled by familiar tones, repetitive only to make you stronger on your road to sanity.

SWORN TO HELL – like the tack of glue that binds two things, the vocals between the guitars and drums are really sticky and makes those unclean grunts bounce off the riffs and beats. This track conjures up the images of the wickedness that is collected throughout someone’s journey. Or it could be the reflection of your own wicked ways that you’re seeing and feeling. The two different guitar solos are forbearing and full of life…

I STAND ALONE – love the cut-time! It’s like a pacemaker to any lover of metals heart. And then…the verse starts. A little taken back if I’m honest because the composition or the way the song is delivered, is familiar; that sound and the dredge and drag of some medieval torture tool on the rocky ground like it is pulling at the already rotting skin of those memories that continue to torture…this song does some things to your psyche, for real. Take the guitar solo at the end – it mixes up like a cup of LSD tea served up by the Hatter himself…

RISE OF THE LIGHT BEARER – the tempo digs at you like a rabid possum. I love the layered whispers that are trying to remind you of something or that something is coming…very cool way to make a subtle point.

MANIFESTATION OF IGNORANCE – somewhat spiritually fused, evoking the primal need to fear something. This track is scary AF. OMG is that fucking devil?? There is a low gurgle within the layers that freaks me the fuck out. Just as soon as I catch my breath, this song literally takes me out of the now and plunks me into the dark and dank hallway of CBGBs and coming out to the stage area to the left, there’s some punk band playing in utter darkness. Freaky ass light from flames and reflections of lighters nick the glassy eyes and the white parts of the posters stapled on the wall. And all of sudden you can only hear the bells from Lamplighter, waking your ass up, face down and spooning with the curb.

ACRED MARTYR – there’s one in every bunch, right? There is a groovy bounce to this track. I love the bass kapaow with the drums. Like a little more than halfway into the song, I felt the need to clear my throat and it occurred to me that since the song started playing, my mouth was hanging open and all of the saliva had dried up like a body in the desert outside of Vegas. I am pretty sure that didn’t happen intentionally, nor did I stroke out for a minute. It was that intense of a track. I love the contrast with the meter of the kick vs the rockabilly-ish guitars. The last 20 seconds is to die for!

MY SWAN SONG – crashing guitars and the plank of the cymbals ricochet back and forth at the beginning of the song. This is like the soundtrack from a dark voyage, a homage set to music. The track is 8:16 so it has to be something of the sort. It’s powerful, titillatingly terrifying, and almost a track than an entire short film could play in the background. JOEY J’S footwork at the 5-minute mark is unbelievable. And after 53 seconds past that, you can’t believe he’s managed to breathe, let alone continue for another 2.5 minutes. It is MASSIVE, clear, concise, precise and probably the best drumming I’ve heard all year. Fucking brilliant. Well done!

NUIT NOIRE – “dementia taking over my soul” – I like the lyric and it resonates with me so much. It’s like the anthem of what I’ve allowed to happen internally. This track wakes that monster up with the climbing crescendo of guitars – like an infant crawling up a wall. And who plays this fast with that much clarity? OMG! I’m almost able to see each note that is plowed through the skins. The last guitar solo is money!

INSECTS – reminiscent of one of those science films in high school – where there are only images and then just as you’re about to fall asleep, the projector jams and melts the film and makes the film sound like a dying fish flopping on the floor. It has a villain-esque feel to it with a choppy tempo.

FORSAKEN – another long AF track at 9:26 but for some reason, it flies by. I love/hate the faint ding of demon bells because they create an anticipation that holds you by the shoulders. The sick grinds of a drop tuned guitar walk down the center of your back. This track has a mystical quality that quakes the weak around you. It’s almost pretty like the rosy cheeks of Alice and Wonderland, but as the rise in tempo begins, you’re snapped sharply back and find yourself on an empty set of King Diamond. The only familiar sound is the echoes of a beat as the fog around you dissipates, you’re left with a hazy fuzz that’s somehow created by the riffs of the guitar and suddenly, just like that, the song is over…

And as I sat there, almost expecting another track to start, I realized that the album was over, and somehow, I managed to survive.

SINSAENUM brings a whole new aspect of progressively terrifying music that reaches in and stirs up some pretty amazing imagery. The insane ability to translate the dark parts of what we create for ourselves and the reactions to the world around us with stunning performances from JOEY JORDISON and FRÉDÉRIC LECLERCQ showcase their abilities to unmask the drums and bass by showing that these instruments are more than just tempo drivers. The band creates and details with guitars that mimic the supernatural sounds; internally and externally. They take the most frightening pieces about being human, and scream, grunt, growl, and sing them into the mic. These are the pieces that you either bury in a gully somewhere in the middle of nowhere and never go back to dig them up – or you face them and survive.

What do you do if you are a metal band? Well, you write a record about all of these things, that’s what you do. And you wait patiently until it hits the masses…

Til Next Time – MRML – Cherri

Repulsion for Humanity comes out of the crypt on August 10, 2018, via EarMusic. Pre-order the record here.  

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