samedi 13 mai 2017

REVIEW | Motionless in White "Graveyard Shift" English version



Motionless in White - Graveyard Shift (2017)
Metalcore US 

01. Rats 
02. Queen For Queen 
03. Necessary Evil (feat. Jonathan Davis) 
04. Soft 
05. Untouchable 
06. Not My Type: Dead As F*ck 2 
07. The Ladder 
08. Voices 
09. Loud (F*ck It) 
10. 570 
11. Hourglass 
12. Eternally Yours




Until recently, the MIW albums were restored after the greatest discographies of bands such as KORN, SEPULTURA and KREATOR in record stores. Today, everything is different. Hard to ignore at least the name of the American combo from Pennsylvania. Founded in 2005 by Chris Cerulli, known as Chris "Motionless", and his friends Angelo Parente (drums), Frank Polumbo (guitars) and Kyle White (bass), the bands gets inspired by big names like SLIPKNOT, MARILYN MANSON and POISON THE WELL. The same year, they release their very first demo that allowed them to be finally spotted by Warner Records in 2007. After a first EP in 2007 entitled Whorror, MIW keeps progressing with Creatures in 2010. The band greatly took off on Infamous, two years later, helped by the two great tracks Devil's Night and A-M-E-R-I-C-A. The industrial gothic metalcore turn is finally confirmed by the album Reincarnate, probably one of their best. After a more screamo start, not necessarily of everyone's taste, Cerulli and his friends decide to finally mix dark and brutal sounds. What should we expect from Graveyard Shift?   

Rats, as the opening for the album, is in the proof of the electronization of new MIW's saturated sounds. From the beginning, Chris Motionless reveals his lowest voice, often compared (but, quite wrongly) with Brian Warner's one aka Marilyn Manson, according to a rhythm reminiscent of the two flagship titles of the album Infamous. During the bridge, the track contains some interesting nuances in terms of melodies, but it is not yet possible to get a clear idea of ​​taken path. Queen for Queen, on the other hand, is a perfect representation of pure American metalcore. Yet, the vocals are more distinct than on the rest of the tracks. Although the melody's brutality is important, it seems that Cerulli gives more attention to the lyrics on this specific song. Necessary Devil, in collaboration with Jonathan Davis of the band KORN, starts on metal bases before finally incorporating electronic sounds. Although the song is not innovative in itself, it is probably one of the best tracks on this album. Soft and Untouchable seem to be the logical continuation. Here Not my type: Dead as Fuck 2 comes, which is the answer to Dead as Fuck, remember, 11th album track of Reincarnate. Interestingly, Dead as Fuck 2 comes out in 6th position in Graveyard Shift that is at its perfect half. At random ? Whatever the reason is, the track serves to recall the band's original identity made of dark, delusional aesthetics, somewhat burlesque at times but mostly very cinematic. Obviously not easy to remember Sinematic, 7th track of the album Infamous. As usual, Dead as Fuck 2 plays with the theme of horror amusement parks, Hollywood and finally the series of movies Halloween, masterpiece of the imagination of Rob Zombie and John Carpenter, of which Chris Cerulli is himself particularly worshiping. After this movie break, the rhythm greatly races with The Ladder. Brutal and noisy in each parts, the track contains pure metalcore in each chorus though. A great pity since the brutality of each couplet actually gives all its letters of nobility. Voices, on the other hand, can be perceived as a good piece for the pro-metalcore but a very cliché track for the others. Its popularity will then depend on the ear that listens to it. Loud (F * ck it), already known to the public for being released recently, is a well-thought piece, quite witty, and tinted with vintage US rock n' roll. New metal detour with 570. Yet, no, you are not listening to KILLSWITCH ENGAGE but MOTIONLESS IN WHITE. We swear. Described as completely personal song, the track represents the regional postal code of Cerulli's former home. The song is then nothing more than an ode to the path traveled by a boy who struggles by mountains and winds, without money and in an unpromising environment that finally reaches its peaks after 10 years on the road. The little boy on the album's cover? Actual autobiography in any case. Hourglass is thematically the logical outcome of 570 since it narrates the tory of an hourglass that continues to flow as life passes by. Will the boy, who has now grown up, have time to realize all his dreams before the hourglass empties? The lyricism rests on the melodic parts of the piece and it is a good thing. Graveyard Shift is now coming to the end with Eternally Yours. While most groups decide to include singles and headlines at the beginning of the tracklist, MIW made the opposite choice and opted to finish on a drum roll. An idea that could have been ingenious if the track in itself had not been so cliché. Graveyard Shift remains influenced by a number of musical and artistic influences especially visual. It is clear that MIW does not deviate from its original rule or at least in part. While some titles remain largely in line with previous albums, others are more conceptualized in a more mainstream category. While Infamous and Reincarnate had the power to attract followers of dark music who were quite unfriends with metalcore, Graveyard Shift is and remains a pure metalcore-oriented album and will mainlyappeal to screamos lovers and brutal melancholic rockers. For an audience, on the other hand, much colder towards metalcore, the album is not up to Infamous and Reincarnate, the very good Dead as Fuck 2 excluded.

Demona Lauren
For VerdamMnis Magazine

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