Ice Nine Kills is launching a new convention for horror movie fans.
The band announced this week, it will present the inaugural Silver Scream Con Aug. 26-28 at the Double Tree Boston North Shore Hotel in Danvers, MA. The three-day event is scheduled to feature appearances by Kane Hodder (Jason in Friday the 13th 7-10), Nick Castle (the original Michael Meyers), Skeet Ulrich (Scream, The Craft, Riverdale), James Jude Courtney (Michael Meyers in Halloween Kills, Halloween Ends, and the 2018 reboot of Halloween), and Danielle Harris (Halloween 4, Halloween 5, Hatchet, Rob Zombie’s Halloween, Halloween 2).
Musical group Twizted is also scheduled to appear at the convention, as well as Ice Nine Kills front man Spencer Charnas.
“The Silver Scream Con will bring horror fans and INK fans from all over the world together to celebrate their love of on-screen slaughter,” Charnas said. “This is the chance ofr our loyal psychos to not only interact with the band, but to meet the incredible stars of the very films that our music pays tribute to.”
Bleed From Within debuted the latest single from its forthcoming album, Shrine, and its companion video this week.
The band debuted its new single, ‘Flesh and Stone‘ and its companion video Thursday. The song is the fourth single from the album, which is scheduled for release June 3 through Nuclear Blast Records. The album has also produced the singles, ‘I Am Damnation,’ ‘Levitate,’ and ‘Stand Down.’
The musical arrangement featured in ‘Flesh and Stone’ is everything that audiences have come to expect from Bleed From Within musically speaking. The intense screams are there, as are the equally powerful orchestrations and intense drums, guitar riffs and more. Comparisons can be made at points, to works from Ice Nine Kills, and at others, to works from the likes of Whitechapel. The blend of influences makes the song a heavy, intense work that will appeal to a wide range of metal fans.
Drummer Ali Richardson talked about the song’s lyrical theme and its connection to the song’s video in a prepared statement.
“‘Flesh And Stone’ was born from the idea that future generations will inherit a dying planet,” Richardson said. “The evidence to support this theory is overwhelming, but we are still met with people who choose to deny the fact that this world is finite. Avoiding the traditional performance style video, we instead wanted to create a cinematic fictional world that could no longer defend itself from the sun; a barren wasteland once full of life. In her isolation, our desperate protagonist has resorted to rituals in order to manifest some form of life on this dead world, but it’s too late.
In other news, Bleed From Within has an extensive summer tour scheduled in support of its new album. The tour is scheduled to launch with a handful of festival shows between June 2 and Aug. 18.
After finishing its festival shows, the band will take some downtime before launching a full European tour Dec. 1 in Cologne, Germany. The tour is scheduled to run through Dec. 5 in Paris, France.
The tour’s schedule, including festival shows, is noted below.
Bleed From Within – Summer Festivals
June 2 – Gdnask, PL @ Mystic Festival
June 10 – Castle Donnington, UK @ Download Festival
June 24 – Gräfenhainichen, DE @ Full Force Festival
June 29 – Viveiro, ES @ Resurrection Fest
August 18 – Sulingen, DE @ Reload Festival
Shrine – EU Tour Dates
December 1 – Cologne, DE @ Club Volta
December 2 – Nijmegen, NL @ Doornroosje
December 3 – Eindhoven, NL @ Dynamo
December 4 – Hamburg, DE @ Logo
December 5 – Copenhagen, DK @ VEGA
December 6 – Berlin, DE @ Hole 44
December 7 – Frankfurt, DE @ Das Bett
December 8 – Stuttgart, DE @ Kulturguartier
December 9 – Vienna, AT – Arena
December 10 – Warsaw, PL – Hydrozagadka
December 11 – Prague, CZ – Underdogs
December 12 – Munich, DE – Feierwerk
December 13 – Aarau, CH – Kiff
December 14 – Lyon, FR – Warmaudio
December 15 – Paris, FR – Le Backstage
More information on Bleed From Within’s new single, video, album, and tour is available along with all of the band’s latest news at:
A little more than a year ago, Hyro The Hero announced to the world that he was working on a new project dubbed Kids Against The Monsters. The record was originally scheduled for release last year, but that obviously did not happen. Why that is the case is anyone’s guess. That is beside the point. The announcement came as part of a bigger announcement that he had released a new single titled ‘Legendary.’ Fast forward to this weekend. The long-awaited project (originally called a “mixtape,” now being marketed as an EP) was finally released Friday. The four-song record is an enjoyable albeit imperfect presentation from the up-and-coming rap-rock star. To its positive, it features three songs that the rap-rock star (a.k.a. Hyron Louis Fenton, Jr.) crafted in 2021. On the opposite side, it is lacking other songs that he crafted last year. This will be examined a little later. One last item to note is the record’s sequencing, which will also be examined later. Each item noted here is important in its own way to the whole of Kids Against The Monsters. All things considered, they make a record that although imperfect, gives hope for Hyro The Hero’s next record.
Kids Against The Monsters, the long-awaited “mixtape” project from Hyro The Hero, is a mostly welcome filler between his then latest album, 2019’s Flagged Channel, and his next studio recording. Hopefully that new record will come sooner rather than later, but that is entirely up to him. The record works in part because of the songs that it features. Four songs make up the EP’s body. They include the EP’s title song, which features a guest appearance by Slipknot/Stone Sour front man Corey Taylor, and three singles that he released last year, ‘FU2 (ft. AJ Channer),’ ‘We Believe (ft. David Draiman)’ and ‘Fight (ft. Chad Grey).’ All four songs are impressive in their own right, because each offers audiences something different from its counterparts. The EP’s opener, for example, is a heavily blues-tinged rocker that conjures thoughts of songs from Imagine Dragons and others of that ilk. Taylor’s vocals are almost indiscernible to be honest. The subtle use of the turntables and the beats makes for such a great hip-hop vibe. The whole here makes the song so enjoyable in its own right.
‘FU2 (ft. AJ Channer)’ takes audiences in a completely different direction with its high energy approach and its socially conscious lyrical theme. Fenton points the finger at what the world has become in the song’s lyrical theme. That and the energy in the intense nu-metal approach is certain to keep audiences engaged and entertained. Again, it is the polar opposite of the EP’s opener, and that is a very good thing.
‘We Believe (ft. David Draiman)’ takes Fenton’s modern rap leanings and pairs it with a melodic hard rock approach to make the song enjoyable right from the get go. The heavy bass used in the verses clearly exhibit those hip-hop leanings. Draiman’s vocals make for a positive counterpoint to those of Fenton here, making for even more engagement and entertainment. The whole becomes a song that holds its own identity separate from the record’s first two songs, again showing the importance of the record’s featured songs.
‘Fight (ft. Chad Gray)’ is yet another change of pace sure to keep audiences engaged and entertained. That is because it takes audiences back to the sounds and stylistic approaches that made Flagged Channel so enjoyable. The addition of Gray’s vocals to the song makes for another welcome contrast to those of Fenton, in turn adding even more to the song’s appeal. The song’s lyrical theme, which is yet another socially conscious message, adds even more to the song’s appeal.
For all of the enjoyment that the songs featured in this record guarantees, there could have been more music included in the EP. That is because it does not feature all of the songs that Fenton crafted last year. He also released another single, titled ‘Retaliation Generation’ alongside Ice Nine Kills front man Spencer Charnas. That song and ‘Legendary’ are each enjoyable in their own right because of their own musical and lyrical content. Why Fenton decided not to included the songs in this record is also anyone’s guess. It would have brought the record’s total song count to six, and in turn made the record even more enjoyable. That is because they are just as unlike one another as they are from the songs featured in the EP and as they are from one another. So to that end, not including these two songs in the EP is obviously not enough to make the EP a failure, but it certainly would have made the EP’s presentation so much more positive.
Keeping this in mind, there is still one more item to examine. That item is the record’s sequencing. There are, again, only four songs featured in the EP, but their sequencing ensures listeners’ engagement and entertainment just as much as the songs themselves. That is because from beginning to end, it ensures the record’s energy remains stable even as the song styles and sounds change. The whole thing opens with the noted bluesy hip-hop opus before really picking things up in ‘FU2’. The energy keeps flowing in ‘We Believe’ and continues in ‘Fight’. In other words, from start to end, the EP’s sequencing sees the record interesting because of its role in the general effect, doing even more to keep things interesting for listeners. When this is considered along with the songs themselves, the record proves even more worth hearing.
Kids Against The Monsters, the newly released EP from Hyro The Hero, is a welcome addition to this year’s field of new EPs. That is due in part to its featured songs. The songs featured in the record are singles that he released last year. Each is different from one another in its sound and style while their lyrical themes will resonate easily with any listener in their own way. From the socially conscious to the more personal, each theme has something worthwhile to offer. While the songs featured in the record do plenty to make the EP appealing, the lack of two other songs that he released last year detracts from the record’s presentation. It is not enough to make the EP a failure, but the record would certainly have benefited from their inclusion. That aside, the EP is still mostly successful. Its sequencing ensures that in its own right. That is because it makes sure the record’s energy stays stable even as the sounds, styles and themes change from one song to the next. Each item noted is important in its own way to the whole of the EP one more of the best of its field so far this year.
Kids Against The Monsters is available now. More information on Hyro The Hero’s new EP is available online now along with all of Hyro The Hero’s latest news and more at:
Former Ice Nine Kills member Justin “JD” deBliek and Joel DeMartino’s new band, Temple of Shadows,’ premiered the latest single and video from the project’s new album this week.
The band premiered its new single ‘The Hanged Man‘ and its video Tuesday. The song is the group’s second behind the recently premiered single, ‘The Hermit.’ The song was released Dec. 14.
The single is a far cry from the works that DeBliek composed as a member of Ice Nine Kills. There is a clear metalcore leaning present throughout the song’s arrangement, but it seems more subdued than most metalcore songs.
deBliek talked about the song’s lyrical theme in a brief statement.
“‘The Hanged Man’ is our take on the message of knowing your surroundings and finding peace in the madness,” said deBliek.
deBliek and DeMartino expanded with a more in-depth statement about the song’s lyrical theme.
“…”The Hanged Man“ doesn’t appear to be uncomfortable in his suspended state,” the statement continues. It suggests he is there by choice and has found peace within the chaos. This card symbolizes new insight, awareness and enlightenment- a way to see the world with a new perspective. So, when we find ourselves getting hung up on the things that are beyond our control, this card reminds us to let go and meditate on the greater good.”
The lyric video presents a skeleton knight on horseback making its way through a countryside as the song’s lyrics play over the visualization.
Independent metal band Braincell premiered its new single and video this week.
The band debuted its intense new single, ‘Defensive Wounds‘ and its even more powerful video Friday. The song is among the most unique new hard rock and metal singles released so far this year. That is due in part to its featured musical arrangement.
The song’s musical arrangement stands out because it blends elements of so many hard rock and metal genres within its body, and still manages to balance it all. Right from the song’s outset, audiences can hear influences of Slipknot and Devildriver. As the song progresses, Whitechapel’s influence becomes evident alongside touches of Ice Nine Kills, what with the use of the keyboards. These are so many varied influences, but they work so well together here.
The press release announcing the premiere of the song and its video did not mention the song’s lyrical theme. The lyrics provided with the song’s video seem to hint at perhaps a theme of dealing with the most extreme mental health concerns. That is, of course, just this critic’s interpretation and should not be taken as the only interpretation.
The song’s video is just as comparable to works from Ice Nine Kills as some of the song’s musical content. That is because it is presented like a horror story. The band is being chased by a psychotic killer in the forest, being taken down one by one. Meanwhile the band is shown performing its new single in a separate setting.
More information on Braincell’s new single and video is available along with all of the band’s latest news at:
Independent metalcore band As Within, So Without released its new album, Salvation Wednesday. The 11-song record is a presentation that will appeal equally to the band’s established audience base and to casual metalcore fans. That is due in large part to its featured musical arrangements, which will be discussed shortly. The roughly 26-minute record’s lyrical content works with its musical arrangements to make for even more interest and will be examined a little later. The album’s production rounds out its most important elements and will also be examined later. Each item noted here is important in its own way to the whole of Salvation’s presentation. All things considered, they make Salvation a work that the noted audiences will find worth hearing at least once.
As Within, So Without’s new album, Salvation, is a record that the band’s established audiences and casual metalcore fans alike will find interesting. That is due in large part to the record’s musical arrangements. From beginning to end, the record presents a nonstop display of metalcore. The heavy, crunching guitars, the dual approach of the screams and clean vocals, and the equally heavy, rich bass and drums makes each song so engaging and entertaining for the noted audiences. The arrangements easily lend themselves to comparison to works from the likes of Ice Nine Kills, As I Lay Dying, and Killswitch Engage, just to name a few similar acts. A casual listen through the record makes each arrangement sound the same. However, audiences who actively listen to each work will catch the subtle changes that make each song different from one another. Case in point is the album’s opener, ‘Ch. III: The Undefined.’ This song’s full one assault is a face melting work that even though it barely tops the two minute mark, absolutely pounds listeners’ ears. That approach and sound makes it comparable to works from the likes of Unearth and Whitechapel. By comparison, a song, such as ‘Frostbite,’ with its machine gun precise guitar riffs and equally tight drumming and screams make it so similar to works from Killswitch Engage. The intensity exuded through the song is so much different from that of ‘Ch. III: The Undefined’ and the rest of the album’s entries. ‘Salvation,’ which closes out the album, changes things up even more with its deep screams and heavy instrumentation. The minor chords used in the guitar line and the punch from the drums and bass pair with the guitar and vocals to give that song a sound that is more comparable to KsE and to As I Lay Dying. That is especially the case considering the contrast of the heavier verses and the more melodic choruses. It is just one more way in which the album’s musical arrangements prove so important to the album’s presentation. Again, the changes from one song to the next are subtle, but those who actively immerse themselves in the album will catch those subtleties and in turn agree that the record’s musical arrangements are so critical to the album.
It goes without saying that the musical content featured in Salvation is important to the album’s presentation. Yes, the record’s musical content is largely metalcore in its approach, but the band presents influences from so many of its more well-known counterparts in the metalcore community from beginning to end, changing things from one song to the next and ensuring the songs maintain their own identity in the process. They are just one part of what makes the record worth hearing, too. The record’s lyrical content is just as important to its presentation as its musical arrangements. The lyrical content in question follows an overarching theme so to speak. According to comments from the band, the album is a concept record that follows a man who is on a personal and spiritual journey of healing. Not having lyrics to reference, the content that can be deciphered leads listeners to hear that story, beginning with the story’s subject at a point of total anger over events of the past. From broken relationships with a certain person or people early on to anger over an absent parent in ‘Like The Wind’ to the subject’s seeming eventual realization that there was no point in holding in so much anger, the story will connect with a wide range of audiences. What’s more, the very fact that a metal act opted to take on a concept record to begin with is of its own note. Generally, concept records are saved for the prog-metal community (E.g. bands, such as Dream Theater, Fates Warning, Between The Buried and Me). So to have a pure metal band, such as this taking on a concept record is in itself unique in terms of lyrical content. To that end, that and the story itself together make the album’s overall lyrical content even more reason for audiences to give this album a chance. It is just one more item that audiences will appreciate about the album, too. The record’s production rounds out its most important elements.
The production that went into Salvation is important to address because of its role in the album’s general effect. Going back to the note of the intensity of each of the album’s arrangements, they are exactly that. There is a lot going on in each arrangement between the instrumentations and the vocals. Even in the case of the vocals themselves, the production that went into balancing the screams and clean vocals played its own role. The end result of all of that work from one song to the next is that each arrangement is professionally balanced. No one band member overpowers his band mates at any point. The slightest nuances, such as keyboard lines even play their own important part and add their own layer of engagement and entertainment to the songs. That is again, thanks to the time and effort put in to balancing those lines with everything else in each song. All things considered, the production that went into Salvation gives the album a fully positive general effect. Keeping that in mind along with the role of the album’s musical arrangements in general and with the role of the album’s lyrical content, and the whole makes the album overall a work that AWSW’s established audiences will find just as appealing as more casual metalcore fans.
Salvation is a positive new offering from As Within So Without. That is due in large part to its featured musical arrangements. The arrangements are important to the album’s presentation because they take audiences into so many sub realms (of sorts) of the metalcore community. The changes from song to song are subtle, and listeners who actively take in the album will catch those subtle changes. The lyrical themes that accompany the album’s musical arrangements are just as important to its presentation as the album’s musical content. That is because of their accessibility and the very fact that they play into a bigger concept for the album. That a metal band decided to take on a concept for a record is itself rare, making for even more reason for audiences to hear the album. The record’s production puts the finishing touch to its presentation. It gives the album a strong general effect through the balance that it insures in the album’s instrumentation and vocals. Each item examined is important in its own way to the whole of the album. All things considered, they make Salvation a positive addition to this year’s field of new hard rock and metal albums and independent albums.
Salvation is available now. More information on As Within, So Without’s new album is available along with all of the band’s latest news at:
Memphis May Fire kicked off the weekend by debuting another new single and its companion video.
The band premiered its new single, ‘The American Dream‘ and its companion video Friday. The band’s sixth single since the debut of its single, ‘Death Inside‘ last July, the song features a musical arrangement that is everything audiences have come to expect from MMF.
The arrangement is a rich, heavy composition. It is comparable to works from the likes of so many metalcore bands with its heavy, melodic approach. There are elements of Ice Nine Kills alongside elements of Wage War, and to a lesser extent, As I Lay Dying exhibited throughout the song.
Front man Matty Mullins talked about the song’s lyrical theme in a prepared statement.
“We are thrilled to be dropping our sixth new single ‘The American Dream,” said Mullins. “This song was fueled by the current state of our country, and the desire to fight for resolution rather than fighting our fellow man. We are donating 100 percent of the proceeds froma new t-shirt that will be coming soon to our merch store to The Veterans Project, whose mission is to capture the legacies of veterans of the American military and tell the stories of all Allied countries and their warrior classes, as well.”
The video for ‘The American Dream’ is very much like most of the band’s videos lately. It featured the band on a soundstage in front of a wall of monitors, performing its new single. Along with ‘Death Inside’ and ‘The American Dream,’ MMF has also released the singles, ‘Left For Dead,‘ ‘Bleed Me Dry,‘ ‘Blood & Water,’ and ‘Somebody.’
More information on Memphis May Fire’s new single and video is available online along with all of the band’s latest news at:
Metalcore outfit Until I Wake has given a Mariah Carey favorite a unique new turn with its take on the song.
The band premiered its take on Carey’s hit holiday song, ‘All I Want For Christmas Is You‘ Thursday. The band’s take on the song is a much heavier, darker take on the otherwise happy tune. The sound and the approach that the band took on this song is more akin to that of works from the band’s Fearless Records label mates Ice Nine Kills than that of Carey’s light, poppy composition.
Front man Cody Johnson said in a prepared statement, taking the song in the noted direction was an intentional move.
“We wanted to take what is probably the most well-known, overplayed, and cheerful Christmas song, and twist it into something a little more dark and sinister-sounding,” said Johnson. “We wanted to give fans a break from hearing that version of the song and give them the option to play our version at family parties this holiday season.”
Until I Wake’s new take on Carey’s song comes on the heels of the debut of its own original song, ‘Octane‘ and the song’s video last month. The song and video are the first from the band’s as yet untitled forthcoming album. The album’s release date and more is all under consideration.
In other news, Until I Wake has announced a new tentative schedule for its upcoming tour. The schedule sees the tour launching March 25 in New Bedford, NH and running through April 10 in Greensboro, NC. The brief, East Coast run also features stops in Baltimore, MD; Albany, NY and Tampa, FL. The tour’s schedule is noted below.
UNTIL I WAKE ON TOUR
With Attack Attack! + Conquer Divide
3/25 — New Bedford, NH — Vault Music Hall
3/26 — Manchester, NH — Jewel
3/27 — Asbury Park, NJ — House of Independents
3/28 — Albany, NY — Empire Underground
3/30 — Rochester, NY — Montage Music Hall
3/31 — Pittsburgh, PA — The Crafthouse Stage + Grill
4/1 — Harrisburg, PA — HMAC Stage on Herr
4/2 — Northampton, PA — The Gin Mill + Grille
4/3 — Baltimore, MD — Zen West
4/5 — Richmond, VA — Canal Cub
4/6 — West Columbia, SC — New Brookland Tavern
4/7 — Tampa, FL — The Orpheum
4/8 — Orlando, FL — Soundbar Orlando
4/9 — Atlanta, GA — Purgatory at The Masquerade
4/10 — Greensboro, NC — Blind Tiger
More information on Until I Wake’s new singles, video, tour, and forthcoming album is available along with all of the band’s latest news at:
Independent hard rock band As Within, So Without is offering audiences another preview of its new record.
The band premiered its new single, ‘Like The Wind‘ and its companion video Wednesday. song and its video are the second from the band’s forthcoming album, Salvation, which is scheduled for release Jan. 12. The band premiered the album’s lead single, ‘My Revelation‘ and its companion video last month.
The musical arrangement featured in ‘Like The Wind’ is stylistically similar to that of ‘My Revelation’ in that both songs boast a distinct metalcore style arrangement. At the same time though, ‘Like The Wind’ presents more similarity to works from the likes of Ice Nine Kills and As I Lay Dying while ‘My Revelation’ bears more influence from the likes of Killswitch Engage.
The lyrical theme featured in ‘Like The Wind’ focuses on the emotional and mental impact of a child from a broken home.
The band addressed that theme and the song’s video treatment in a prepared statement.
“Our new single ‘Like The Wind’ explores the feelings and trauma of one of your parents or parent figures leaving you at a young age,” the statement reads. “The lyrical content is very personal to some of the members of our band and the message of this song is something we’re very proud of.
The statement adds, “As for the music video we felt that the set/location needed to get across the point of a broken home and we feel like we crushed all of our goals with this song and music video.”
Expanding on the comments of the video, the video features the band performing its single in the setting of a home with a variety of video and editing effects. Along with that footage, the video also features a couple fighting and one of the couple leaving, the child sitting alone as the incident happens.
More information on As Within, So Without’s new single, video, and album is available along with all of the band’s latest news at:
Halloween is almost over, but horror, like evil, will never die. Metalcore band Ice Nine Kills is an act that seems to live by that mantra, having released so many albums based on horror novels and movies throughout its life. The band continued to prove that Oct. 15 when it released its long-awaited new album, The Silver Scream 2: Welcome To Horrorwood. The wait for this record was well worth it, as this critic and any of the band’s fans will agree. That is proven in part through the musical arrangements featured in this record. They will be discussed shortly. The movies represented in the new album add to the record’s appeal in their own way and will be discussed a little later. The record’s sequencing rounds out its most important elements and will also be discussed later. Each item noted does its own part to make INK’s new album successful. All things considered, they make the album another successful offering from the band that is not just a great musical Halloween treat this year, but a great addition to this year’s field of new hard rock and metal albums.
Ice Nine Kills’ latest album, The Silver Scream 2: Welcome To Horrorwood is another successful new offering from the band that the band’s fans new and established alike will appreciate. That is due in no small part to its featured musical arrangements. The arrangements are important to the record’s success because of the mix of familiar and new sounds and styles that they exhibit. Right from the album’s outset in the album’s title track, audiences get the band’s familiar melodic metalcore approach, complete with front man Spencer Charnas’ solid mix of clean vocals and screams and the band’s familiar choral element that has become such a trademark of the band’s songs. From there though, the band changes things up in ‘A Rash Decision.’ The ominous piano line that opens the arrangement is familiar, but as the arrangement progresses, it very quickly turns to a decidedly Slipknot-esque composition with its heavy, driving guitars, screams, and pounding, solid time keeping. This is an approach that the band has dabbled with in the past, but never to this extent. ‘Assault & Batteries’ meanwhile takes audiences back to the sounds so familiar in The Silver Scream and even all the way back to the band’s even earlier hit song, ‘Communion of the Cursed.’ Listeners get even more of the noted Slipknot influence in ‘Funeral Derangements,’ which is one of the album’s many singles. Perhaps the most notable of the album’s arrangements comes in the form of ‘Rainy Day’ (yes another of the album’s singles). The incorporation of the electronics into the song conjure thoughts of songs from the likes of Gravity Kills and Spineshank. That newer sound pairs with the arrangement’s more familiar metalcore elements to make it one of the album’s most notable musical works. Audiences who want even more new approaches and sounds get that in the distinctly death metal style ‘Take Your Pick.’ Considering that this song features a guest appearance by Cannibal Corpse front man Corpsgrinder, the comparison there is immediate. To a slightly lesser degree, audiences can also make a comparison to works from the likes of Whitechapel. From there on out, audiences get plenty of familiar sounds and styles in every song that follows. At the same time, the songs still boast their own identities, even with that familiarity noted. Keeping all of this in mind, the mix of new and familiar from one arrangement to the next and even within certain songs makes for reason enough for audiences to hear this record. Of course, the musical arrangements featured in INK’s new album are collectively just one part of what makes this album worth hearing. The movies that are represented throughout the record make for their own interest.
The movies that INK chose to represent in its latest album are important to note because unlike so many cinematic sequels, they are not just re-hashings of the material from the original. From the singles already released so far, audiences know that classic movies, such as Pet Sematary, American Psycho, Child’s Play and Resident Evil are represented here. Also represented are seemingly the likes of Cabin in the Woods (‘A Rash Decision’), The Fly (‘F.L.Y.’), and even Psycho (‘The Shower Scene’) among others. Hellraiser is seemingly represented here in ‘The Box’ as is The Evil Dead in ‘Ex-Mortis.’ Simply put, between the movies listed here and the others featured here, INK has opted to not just re-visit the movies visited in the songs from The Silver Scream and its initial sequel/spinoff, The Silver Scream: The Final Cut. What’s more, the band also made sure to pick movies from across the horror spectrum and history. Not only does this serve as respect for those movies, but it could very well serve as a starting point for a lifelong love for (and potentially obsession with) those movies for new horror fans. To that end, that and everything else noted here shows why the movies chosen for this record are important to the album’s success. Even with this in mind, there is still one more item to address here. That item is the record’s sequencing.
The sequencing of The Silver Scream 2: Welcome to Horrorwood is important because it ensures the album’s energy remains just right from start to end. The album starts off in ominous fashion, but doesn’t wait long before it really picks up. From there, the energy barely shifts at any point. When it does, it is subtle at best. The result is that it does just as much to keep listeners engaged and entertained throughout the album as its content and the very cinematic history presented through the featured movies. Keeping all of this in mind, there is no doubt that the sequencing of INK’s new album is just as important to note as the album’s content. It all comes together to make the album its own welcome musical love letter to Hollywood’s horror history just as much as its predecessors.
Ice Nine Kills’ recently released album, The Silver Scream 2: Welcome to Horrrorwood is another successful offering from the band. It is a work that the band’s established and newer audiences alike will enjoy. That is due in no small part to its featured musical arrangements. The arrangements offer listeners a solid blend of familiar sounds and styles, and newer approaches. The whole there makes for plenty of engagement and entertainment. The movies that are represented throughout the album are of their own importance. That is because they are not just repeats of the movies represented in the band’s most recent records. They continue to show the band’s love for Hollywood’s rich history of horror while also continuing to potentially introduce audiences to that rich history. The record’s sequencing rounds out its most important elements. That is because it ensures that the record’s energy remains solid from start to end. Each item noted is important in its own way to the whole of the album’s presentation. All things considered, they make the album another successful offering from Ice Nine Kills and one more of this year’s top new hard rock and metal albums.
The Silver Scream 2: Welcome to Horrorwood is available now through Fearless Records. More information on Ice Nine Kills’ new album is available along with all of the band’s latest news at: