SINIRA is a Melodic Black Metal entity...a one-man project lead by Knell, hailing from Nacogdoches, Texas. He notes that being a one-man project does result in longer recording times, and hopes you enjoy what you hear and may it tap into your darkest emotions. "The Everlorn" is his debut release and contains eight tracks.

"Where Starlight does not Shine" opens the album. It begins with a fast and heavy sound, and soul-wrenching screams. The melodies are maintained mostly in the guitar structure. It takes an ambient pause around the half-way mark, with clean guitars and melancholy spoken words, before the main sound returns. "Gardens of Pestilence" begins with more fast picked guitar passages and steady, galloping drums. Again, it's the guitars that build the melody, though they are perhaps more subtle here. The riff changes just a bit after the half-way mark, slowing a bit into a groove.

"The Everlorn" begins with some melodic guitars, but the fast-picked riff is still the star of the show. The riff slows a bit with a guitar solo close to the half-way mark, and here is where the melody really shines. Knell builds many layers in this song. "Souls of the Flame" is a short, two-minute pause of clean guitar harmonies with a slightly sad tone. It's quite charming. "Tear Laden Skies" begins with more fast-picked guitars and the album as whole so far does not suffer from a lack if intensity. It slows a bit, to let the melody soak in, and the sadness grows. Then, the heaviness returns.

"Our Final Nightmare" begins the same way as the other songs...with fast-picked guitars and galloping drums. At this point in the album, you could say that the album as a whole lacks some diversity in sound, much to my chagrin. "Dawnless Twilight" is an eleven-and-a-half-minute opus. It opens slowly, then the fast intensity builds. I would say that the use of melody so far on the album is more subdued. Many of the tracks have the same pace, which can create a repetitive affair. The riff descends into darkness just before the half-way mark. It seems to last a long time. "Omega XI" closes the album. It's a three-minute song with piano notes from guest pianist Margot. The notes are ominous and depressing.

Overall, though the album showed great potential, it didn't quite reach actualization. The main reason is because the melodies are more subdued, and the pacing of the tracks was close to identical in most of the songs. I suppose one idea is so that the listener has to really work to find the melodies, but I prefer them to be low-hanging fruit. Still, it's clear that Knell is a talented songwriter, but if he could find a way to make the melodies shine more, it would go a long way. It's a good debut release but could be made better with a little more diversity.