I discovered Uncle Sinner without being prepared for it. I love the blues, and I love blues musicians. Back in the eighties I listened to the diabolical music of Joy Division, Bauhaus, and Nick Cave, who had borrowed Robert Johnson’s crossroads pact. The music descended into perverted depths where the musician appears austere and defiant, where music becomes a reference to pleasure hidden in solitude. Music that emerges from the most untraveled bends of the river, where melodies are heard only through a dirty, old guitar and a voice worn out from not being heard. These are songs that have life only thanks to a pact with a devil who is uncompromising with purity and innocence, seeking to be internalized by only a few chosen ones. I discovered Uncle Sinner without expecting his presence, without foreseeing the message of his music, his bitter interpretation of country blues. "Everybody Wants to Know How I Die" is a compact musical refuge for losers.