Sinnery - A Feast of FoolsTry as you might, your eyes are inevitably being drawn to the album cover that sits just to the left of these words. As you read, you will involuntarily pause so as to examine in greater detail this genius work of Costin Chioreanu. Depicting what appears to be a bloody tea party between a deer, a wolf, a faceless goat boy, and the crack whores of Lewis Carroll’s Alice’s Adventures in Wonderland, the artwork of Sinnery‘s debut album, A Feast of Fools, is about as convoluted and mysterious as the album itself. The band name may be one of the more ridiculous names of recent review, but these Israeli thrashers are as dedicated to preserving the trade as any retro-thrash group out there. These boys have a ways to go in their quest for thrash perfection, but A Feast of Fools is a decent debut that shows a band with teacups of bloody potential.

After your eyes finally leave the cover art and your ears focus on the opening moments of A Feast of Fools, you become overwhelmed by the opener’s nasty attitude and hostile foot to your balls. Said opener, “Revolutions for Nothing (H.A.C.),” stomps and grinds its heels into said balls for a mere two minutes—in that time, setting a barraging tone that foreshadows the coming battle. More of this in-your-face approach comes in the way of the ass-cannonading, Annihilator-like “Built to Kill” and the down-trodden Anthrax riffs, addictive gang shouts, and floor-splitting guitar-work of “Holy Grounds.” What Karnieli’s vocals lack in originality, they make up for in gusto. The guitars may rule the roost, but Karnieli’s voice stitches A Feast of Fools together as tight as a fucking baseball. His Tom Angelripper-isms exaggerate the heaviness of the instruments and add a character almost as powerful as that of our beloved Sodom.

That being said, it’s out-of-the-box numbers like “Black Widow,” “Mad Dog,” “Showing Teeth,” and “A Symphony of Sorrow” that give uniqueness (and strangeness) to the record. For instance, the opening orchestrations of “Showing Teeth” and “Black Widow” are so over-the-top, it made me question if I was actually listening to this album or different one. Though stunned at first, my surprise was quickly alleviated when crushing riffs and bass/drum combinations finally appear. The mission of these songs is simple (even if it appears to be complex or progressive): they stop, start, pulverize, and annihilate your eardrums with more mood-swings, time-changes, and vocal variations than a normal five-to-six-minute song is capable of achieving.

Sinnery 2016

And that is where issues arise with A Feast of Fools. After the roller-coaster ride that is “Black Widow,” its ballady successor (“A Symphony of Sorrow”) takes the formula and goes apeshit on it. Beautiful clean guitars and almost Peter Steele-like vocals crescendo into melodic anger that ascends, descends, and tears off on tangents for eight straight minutes. Unfortunately, it’s too much and the final minutes of tangent-induced riff changes and frenetic soloing could have been trimmed or removed completely. Equally as lengthy is the seven-and-a-half minute closing title track. Opening with some circusy xylophone rappings as only Tom Waits would think up, the track is a disjointed malestrom of thrashy riffs and chaotic, uncoordinated assaults. Much as is the case with its predecessor, there are some truly effective moments (like the badass closing riff), but its everything-and-the-kitchen-sink philosophy makes for an exhausting listen.

While many of the aforementioned tracks overstay their welcome, ripping numbers like “Holy Grounds” and the encompassing “Mad Dog” (with more of the Peter Steele clean vox and Cliff Burton-inspired bass leads) are enough to make A Feast of Fools an interesting listen. And while the guitars shred and the rhythm section destroys, the album is pretty saturated—mainly the fault of the forced “progressiveness” of “Black Widow” and “A Symphony of Sorrow.” Nevertheless, A Feast of Fools is a good album that shows a band full of youthful energy. With some editing, this band could easily find a home among my favorite retro-thrash acts.


Rating: 3.0/5.0
DR: 5 | Format Reviewed: 128 kbps mp3
Label: Pitch Black Records

Share →
  • André Snyde Lopes

    Adding -ery to the end of a noun is a sure-fire way to make it sound sillier. Like, I’d sure love to see some unicornery in that picture.

    • AlphaBetaFoxface

      I gotchu fam

      • André Snyde Lopes

        A win is a win is a win.

        • Westpaceagle

          Now that one little guy is a tricorn. Is that a thing?

          • Bart the Repairman

            Triceratops, maybe.

          • André Snyde Lopes

            It is now!

          • AlphaBetaFoxface

            Chernobyl

    • Juan Manuel Pinto Guerra

      That band name is to close to “Scenery” for it to be taken seriously. I wonder what happened… They either thought “Calm Hatchery” was a really cool band name and wanted something similar or didn’t check Metal Archives to realize that Corpse Sodomizer has not been taken yet.

      • André Snyde Lopes

        Huh… Stolen!

  • brutal_sushi

    The embed track is fucking FIRE!

  • Bart the Repairman

    Artwork is indeed a feast for eyes, but my ears are left a bit hungry.
    edit: what the hell is Rob Flynn doing on that band photo.

    • Than feast on a larger version here.
      http://f4.bcbits.com/img/0007169700_10.jpg
      I think the embedded song sounds good with an interesting twist, but based on the review, one can’t base ones opinion on a single song on this album.

      • Dr. A.N. Grier

        It’s a cool album with some awesome riffs. It just drags on a bit too long.

  • Westpaceagle

    Off topic- are we going to get a full Mistur review and how great is that record?

    • It’s this great! (*stretches out arms*).
      They’ve ventured onward rather than stagnating, and the music is awesome. I find the low DR to be a minor unfortunate obstacle, though. Here’s a copy-paste from a review I wrote myself:
      In Memoriam is a veritable firework of virtuoso composing, zeal and enthusiasm, where compact audio admittedly ain’t optimal for the album’s enjoyment, but where utterly superb music makes me look the other way this time.

      • Westpaceagle

        Exactly what I was going to say only different!

  • The Calgary Nerd.

    The embeded track is everything I want from a Thrash song. Gonna have to give this a shot

  • Diabolus_in_Muzaka

    That lead about 5 minutes in is ace. Actually, the whole concluding bit of this song just rules. Great review.

    • Dr. A.N. Grier

      Thank you, kind sir.

  • Carlos Marrickvillian

    Hot damn Israeli re thrash in the house
    I like this! Has a very authentic feel and catchy guitar. A few more vocal hooks would have been good…but I hope this pops up in bandcamp I wouldn’t mind hearing more.

  • Sinnery

    Wow, Great review man I love how you went through all of it and mentioned the bad things as well as the good things (a lot of magazines don’t do that and it’s a pity)
    well for all your readers we wanted to let you know that we’ve put out another single before the album is out (tomorrow by the way).
    Again thanks for the awesome review !
    Alon.

    https://www.youtube.com/watch?v=35RWkXvTJdc

    • Dr. A.N. Grier

      Thanks for the kind words! Glad you (mostly) enjoyed the review. We try really hard to evaluate the WHOLE album here.

      And thanks for posting the new single. It’s great to have a couple samples for readers to check out.