There’s no question about Sinister's place in the upper echelons of European, and Dutch, death metal in the years from 1992 to 1995 or 1998, if one is feeling charitable. In its prime Sinister released the classic trilogy that was “Cross the Styx”, “Diabolical Summoning” and their magnum opus “Hate”. In 1998 the sub-classic (and vintage Suffocation inspired) “Aggressive Measures” followed but everything after never quite reached the same lofty heights as its first three recordings. Sinister continued to release albums consistently, but eventually imploded as mounting interpersonal conflicts rendered it dysfunctional. Aad Kloosterwaard regrouped and released two albums worth of Sinister material under the Infinited Hate moniker before reforming his main band with him moving to the fore as frontman. Since 2005 Sinister has steadily released albums. In 2013 the four remaining prime era Sinister members at long last reunited as Neocaesar.
Neocaesar puts Mike van Mastrigt (vocals on “Cross the Styx”, “Diabolical Summoning” and “Hate”; married to “Creative Killings” and “Savage or Grace” frontwoman Rachel Heyzer) at the front of a unit rounded out by Bart van Wallenberg (bass guitar on “Diabolical Summoning”, guitar and bass on “Hate”, guitar “Bastard Saints” EP, “Aggressive Measures” and “Creative Killings”), Michel Alderliefsten (bass guitar on “Bastard Saints” EP) and drummer Eric de Windt (vocals on “Aggressive Measures”, drums on the Warfather debut “Orchestrating the Apocalypse”). Certain expectations are inevitable with a decorated membership of such pedigree and repute. “11:11” sounds exactly as the collective sum of its parts would suggest. The ultimate coup would have Neocaesar acquiring the services of Ron van de Polder, but his alliance with Kloosterwaard makes such a union improbable. The absence of any guest vocals from the inimitable Rachel Heyzer is probably intentional, as Neocaesar has the potential to exist beyond a single album. Hopefully we’ll hear Heyzer and her beastly roar sooner rather than later.
According to Christian beliefs 11 is God’s judgment number. In Biblical prophecy 11 denotes the 11th hour, or the time just before the rapture and Armageddon. The 11:11 passages in Biblical scripture all refer to the endtimes in one form or another. Adherents of New Age philosophies on the other hand believe it to herald the dawn of a new age, a spiritual awakening and the ascension to a higher plain of existence. In the theories of German analytical psychologist Carl Jung 11:11 refers to the concept of synchronicity, or that the structure of reality includes a principle of acausal connection that manifests itself in the form of meaningful coincidences. Suffice to say what concerns Neocaesar is the Biblical interpretation of the number. Not that Sinister has wavered from the anti-religious thematic in any way over the last years, but Neocaesar does it far more convincingly and with a greater degree of focus. “11:11” might not have yielded the next 'Doomed', ‘Leviathan’ or ‘Embodiment Of Chaos’ just yet – but Neocaesar have only just started to carve out their path. Who knows what splendid 'Art Of the Damned' they’ll be able to conjure up once they have been together for a few more years?
Even without input from van de Polder Neocaesar retains all vintage elements that made Sinister the ungodly beast it was: van Wallenberg’s signature churning riffing, eerie melodies and chord progressions are in full effect; van Mastrigt’s thunderous growls (he has lost none of the venom and bite in the intervening decades since his time with Sinister) sound as commanding as ever and de Windt easily matches, if not surpasses, Kloosterwaard in the percussion department. Neocaesar probably sounds closer to Sinister circa “Hate” and “Diabolical Summoning” than Sinister themselves do at this point. While there are no weak moments to speak of ‘Victims Of Deception’, ‘Sworn to Hate’, ‘Angelic Carnage’ and ‘Blood Of the Nephilim’ are the standout tracks of the record. The instrumental, semi-acoustic ‘Sigillorum Satanas’ deserves a mention just for how different it is from the remainder of the record, and it greatly enhances the thick occult atmosphere just by being present.
“11:11” is a more than laudable continuation of the sound and imagery that made Sinister a household name in the international metal scene. Are Sinister records better produced on average? Yeah, and some people will probably take issue with the matter-of-fact production that Neocaesar has opted for here. Not that anything that Kloosterwaard touches is always immacutely produced. Infinited Hate, especially on its “Revel In Bloodshed” debut, did not sound half as good as Neocaesar does here. Eric de Windt once again suffers from a suboptimal drum sound, but the guitars and bass guitar are positively crunchy and commanding. Hopefully de Windt will see it fit to lend his throat to Neocaesar in the studio when the time is right. On the visual side “11:11” is steeped in numerology and abstract religious symbolism. As of now, and if “11:11” is any indication, this constellation is a commendable return for 3/4th of the prime era Sinister line-up. Hopefully they’ll be returning with more new work sooner rather than later…