Toronto based post-metal four-piece, Sarin, have inked a deal with Prosthetic Records and are preparing for the release of their third full-length album, You Can’t Go Back, which will be released on February 5th. The six tracks that make up this emotionally charged missive are both introspective and celebratory; the perfect album to introduce Sarin’s euphoric post-metal to a wider audience, and truly put them on the heavy music map.
To find out more about the band’s influences, we asked them to list a couple of records that have influenced them the most and why.
Radiohead – In Rainbows (David Wilson – guitar / vocals)
I’d just fallen back in love with Radiohead when we were starting to write You Can’t Go Back. I was trying new Radiohead-ish chord shapes when writing what would become the first track, and you can catch an accidental flash of Johnny Greenwood’s guitar lead from ’15 Step’ in the intro to the final track. I’ve always been enamored with their ability to write within more traditional song structures in ways that don’t feel traditional: They push the boundaries enough to be interesting, yet aren’t so odd that your parents would switch it off. That’s not necessarily what we’re going for in this band—and if we are, we’re doing a poor job—but the ethos of wanting to experiment while adhering to some unspoken code of “songwriting ethics” made our songs more direct this time around.
I also shamelessly lifted the title for the third track (‘Reckoner’) because it should’ve been used as a metal song title long ago.
Lightning Bolt – Hypermagic Mountain (David Wilson – guitar / vocals)
Lightning Bolt are noise candy. Catchy, almost childish melodies delivered through a dense wall of fuzz and deranged drums while a masked man yammers incoherently somewhere in the outskirts. It’s electrifying, and I wouldn’t stop listening to them and talking about them while we were putting YCGB together. Though we’re more ‘polished’ production-wise, there are plenty of moments on the album where I can hear Lightning Bolt creeping around the corner.
Pallbearer – Heartless (Aleks Hara – drums)
The album that really resonated with me while writing and recording the album was Pallbearer’s Heartless, and its brand of crushing heaviness combined with unapologetically emotional overtones. Pallbearer have the unique ability to inspire heavy lifting sessions for me at the gym, while at the same time inspiring cathartic tears to rain down on the dumbbells. As a drummer, I found myself influenced by the groovy nature of their rhythms; often understated with a few flourishes that accentuate the emotional journey.
Soundgarden – Superunknown (Matt Dakers – guitar)
It goes without saying, this record is a monument and is a staple in my diet. At the time of recording, I was not in the best place. Chris Cornell’s haunting vocals on ‘Head Down’, the sheer power on ‘4th of July’ – oh so sweet. Very, very innovative at the time for alternative rock. One of those records that you can leave on and get lost in.
Poison the Well – You Come Before You (Andrew Salmon – bass)
Since I joined the band after the record was written, my record choice ties to my origin story in the band. Sarin opened for Poison the Well in their previous album cycle, and that mention alone was what prompted me to reach out to them. You Come Before You is heavy, but in an organic way where it doesn’t feel like production sorcery is tricking you into thinking it’s heavier than it is. This album does the peaks and valleys really well, with the breaks in the loudness that pull you into the darkness—something that’s reflected in Sarin’s sound as well. While I feel like I’m “in a metal band”, there’s more depth to the music than I think many people would assume for the genre.