On the band’s third full-length effort “Hate”, Sinister dropped their phrasal and maniacal approach to Death Metal and went for a more streamlined and focused work while still preserving extreme instrumental precision and corridor-like song structures. Of great note is the use of very methodical riffs which might seem gimmick-ridden for the uninitiated but prove their purpose upon the listener as each song unfolds.
Following the album’s intro which sounds like an Invocation of higher spirits is the song “Awaiting The Absu” the longest song on the record which sets the tone of what’s to come.
At first this song seems deceivingly straightforward as it’s mainly carried by one dominant guitar lick but after paying close attention to the arrangement of the elements this song is built upon the intricacies become very obvious.
Following structure is revealed through multiple listens:
A-B-B1-B-B2-C-A-B-B1-B2-C | D-E-E1-F | B-B1-B-B2-C-D-A-B
In the following section I am going to divide this song into three phases, which consists of the Exposition (00:00 – 02:50), Development (02:51 – 04:57) and the Recapitulation (04:58 – 07:06). This doesn’t mean that Sinister’s songs resemble a classic sonata but it does help with categorizing the riffs and their function within the composition.
I – Exposition
Starting with Riff A (00:00 – 00:12), a chaotic blast beat session which gets shortly interrupted by palm muted chords sets the tone for the Exposition and the Recapitulation, as the riffs constantly change between furious runs and more revealing, streamlined rhythmic interplays.
The Riffs B (00:13 – 00:24), B1 (00:25 – 00:33) and B2 (00:41 – 01:20) are introduced through a short bass-solo playing the riff and then being followed by the onslaught of blast beats and the guitars erupting in a very escalating manner as Riff B feels like ascending to the Spirits summoned, but never getting there as the riff always repeats and contains itself until Riff B1 is introduced which through the use of hammer-ons sounds like the song is progressing before the tension increases one more time as Riff B is played again. Now B2 joins in as the “main-riff” of the track, which uses the same techniques as Riff B but being less overwhelming and sounding way more controlled before the song only seems to “properly” progress in Riff C (01:21 – 01:37) as a steady drum beat and muted guitars only lead to the re-introduction of the Riffs A,B,B1 and B2 before Riff C hits again and now finally progresses to the second phase of the song.
II – Development
The second phase of “Awaiting The Absu” begins with Riff D (02:51 – 3:22) which is a combination of palm muted power chords and ringing dissonant chords as the Song title is growled in a powerful fashion. Riff D seamlessly progresses into Riff E (03:22 – 03:38) as the guitarist removes the palm muted and dissonant chords and only focuses on the higher registered chords which slowly but surely get accompanied by short bursts of tremolo picking which builds Riff E1 (03:39 – 04:03). That additional tremolo picking perfectly progresses into Riff F (04:04 – 04:57) which entirely sheds the chords and only plays a tremolo picked riff which supports the additional synthesizers, which shows the final part of the Invocation portrayed through the lyrics, which marks the end of the “Development” as well.
III – Recapitulation
Transitioning from the moody and inspiring midsection of the song, the recapitulation carries the listener back to the hyperactive Riff B and all it’s brutal variations like in the Exposition, exclaiming the destruction caused by the ancient ones once again. Riffs C and D follow again to prepare the listener for final of this track, which is the re-introduction of the furious Riff A in it’s full glory before the song ends with the bass-solo which introduced the most addicting Riff of the song, Riff B.
On Hate, Sinister used a small of arsenal of riffs, not only to accompany the ritualistic and tribal vibes raging within the lyrics but to prove that arrangement is key in Death Metal and that a powerful use of limited but extremely effective tools can create captivating and imaginative tracks.
Screaming demons
Children of the serpent god
VENGEANCE IS SWORN!
Secret covenant will have revenge
From the depths the nameless will rise
The seven lords reborn in UR
The cold burning sword beholds the wrath
Suffer – in pain
Suffer – bleeding
Suffer – to dream
