Sinch (album)

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Sinch (Self Titled)
Sinch (Self Titled) cover
Studio album by Sinch
Released July 30, 2002
Recorded Nashville, Tennessee
Genre Alternative Rock
Length 48:50
Label Roadrunner Records
Producer Malcolm Springer
Professional reviews
Sinch chronology
Imitating the Screen EP
(2002)		 Sinch
(2002)		 Clearing the Channel
(2005)

Sinch (Self Titled) is the group's major label debut, released via Roadrunner Records in July 2002. The album was generally well received, and went on to sell close to 100,000 copies worldwide. Roadrunner decided not to renew the band's contract, leading to a three year delay before they resurfaced with Clearing the Channel.

Contents

[edit] Track listing

  1. "To Die In Fall" – 4:14
  2. "433 (Hypothetical Situation)" – 4:03
  3. "Tabula Rasa" – 3:38
  4. "Something More" – 3:45
  5. "Passive Resistor" – 3:55
  6. "The Arctic Ocean" – 2:56
  7. "Seven" – 4:01
  8. "Plasma" – 5:00
  9. "The Silent Acquiescence Of Millions" – 8:44
  10. "Bitmap" – 4:42
  11. "Armslength" – 3:52

[edit] Musical Style

Whilst strongly influenced by the alternative rock stylings of the Seattle scene, Sinch presents a striking mix of different rock styles. Too commercially appealing to be "art rock" yet too complex and diverse to be nu metal or neo-grunge, few labels other than the uninformative "alternative rock" fit comfortably on Sinch's first major-label outing.

[edit] Production and Marketing

After a period of preproduction, the band headed southwest to Nashville, Tennessee to record for two-and-a-half months with producer Malcolm Springer, who had previously worked with bands such as Full Devil Jacket and Liquid Gang. Battling homesickness over an extended period which included September 11, 2001 , the band nonetheless relished the experience of working for the first time in the music industry "big league".

[edit] The Silent Acquiescence of Millions

The 8-minute epic "The Silent Acquiescence of Millions" originated from an impromptu session where the opening bass part was introduced. Those biased towards heavier metal often enjoy the song for its swift melodic bridges, maintaining that these parts define the song to be heavier than the average nu-metal tune. However, those biased towards softer tones and more developed melody often cite its verses and chorus, which start slowly and gather a comfortable pace, as their reason for enjoyment.

[edit] References