As Bane, the infamous Batman villian, once said; “theatricality and deception are powerful agents”, agents that South Coast’s own Saint[the]Sinner have mastered within one swift EP in ‘Masquerades’. Instead of igniting a spark to hook peoples’ attention, it has become apparent this post-hardcore sextet have set an all-out inferno to make their mark.
Looking back on the rock scene, in this year more than ever, it’s becoming increasingly more difficult to break through and find your name on the list to an exclusive underground club only certain people can enter. Instead of following a recipe of strict elements, incorporating components not otherwise widely used seems to be the way forward. For a masterclass in using theatrical atmosphere in an alluring, captivating notion, upcoming stars Saint[the]Sinner have a back catalogue of how to hit the nail right on the head.
With the introducing track, ‘Theatre Of Broken Dreams’, gradually fleeting in with a beautifully mesmerising melody, we’re smacked in the face by James Booth‘s powerful drum beat paired equally alongside both James Patrick and Luke Juan‘s vocal work. It’s quite a story-within-a-song in both the way of how it has been musically put together, and the lyrical aspect.
Infact, ‘Masquerades’ as a whole is amazingly put together with talent bursting at the seams. It’s a constant ebb and flow between sublime choruses to pack-a-punch verses, to even the odd little taste of musical interludes, and certainly material that is sure to put Saint[the]Sinner‘s name on the map. Imagine if Crown The Empire‘s debut album ‘The Fallout’ were to join forces amongst Fearless Vampire Killers‘ entire lyrical imagery, before throwing in a pinch of Memphis May Fire‘s ‘The Hollow’ era, and you might just get an idea of what these six tracks have to offer.
Opening with a prepossessing little guitar riff, ‘Set It Off’ is a track of which Pash Stratton and Billy Muircroft open themselves up to show their true capabilities. The occasional licks spilling over the edges really tie in perfectly to the earworm-effect caused by the chorus.
‘Asylum’ helps tie the entire record to an end like a bow atop a present, incorporating samples of eery phone calls claiming “no matter what you do, don’t let me in the house” whilst a nice little breakdown shines its way it in appease even in the heaviest of theatrical rock fans. Again, James Patrick‘s abilities need another honourable mention, helping to leave an echoing trail on those lucky enough to listen in this Halloween.
Written by Rayne Peck (@trappedoldways)