Released: 05/05/2017 USA |
We don’t really write about American bands over here. I don’t know why. I’m actually afraid of Americans. But hey, Motionless In White released a new album, why shouldn’t we go and check it out too?
This band hinted a new record back in Summer 2016 with the release of the single “570” and later that year they announced a design contest where people could submit a cover for “Graveyard Shift”… Talking about that… Oops, I just noticed I used the wrong artwork for this record…
There you go:
Seems like you have to play with “personal tragedies” and feelings in order to get your artistically uninteresting stuff used somewhere.
Nobody cares if you studied graphic design in theory and practice for at least five years nowadays.
But well… You tried.
But regardless the questionable choice of the album cover (No, nobody at Your Dead Partner would buy this album if they wouldn’t know the band), let’s just take a listen to “Graveyard Shift”. Motionless In White seem to bring something promising with this one.
The first impression you get when hearing the opener is, that it’s falling a bit flat here already… But what would you expect from a track called “Rats” anyway? There’s nothing that will catch your attention at the first listen. There’s nothing really innovative… It’s nothing new when it comes to Motionless In White…
Are the riffs this uninspired throughout the whole record? We’re gonna find out soon.
With “Queen For Queen” things get more exciting and you get a good enough compensation for the rather boring opener. It’s an energetic track, but you still can’t bring yourself standing up from your seats upon hearing this.
Motionless In White are kinda notorious for featuring other band’s vocalists on their songs and these collaborations turn out the be pretty nice. This time, Jonathan Davis of Korn spiced things up a bit, but it ended up sounding worse than expected. To be honest, it sounded like everyone involved on this track was doing something completely different and it all got mashed up in the end. Quite a let down when regarding the past collaborations with Björn Strid of Soilwork and Dani Filth…
“Graveyard Shift” continues with “Soft” and it’s – surprise, surprise – everything but soft. The chorus is very catchy indeed, but that’s pretty much everything this track has to offer. The remainder of this song is nothing remotely groundbreaking at all. But hey! It gets interesting with “Untouchable”! Finally! And we get that you’re untouchable. No need to repeating that 1500 times. Let’s go on.
“Not My Type: Dead As Fuck 2” comes up next and the first thing that came into my mind was the following: When is Chris Motionless gonna stop imitating Marilyn Manson? It’s getting too obvious by now and this track is a good proof of it. Motionless In White kinda sound like a cheap “The Golden Age Of Grotesque”-Era knock-off for poor girls who can’t afford the real thing.
Lalalalalalalalala, we’ll pass.
“The Ladder” aka “Somebody That I Used To Fuck” waits to be heard next. A cool Gotye reference, if that was the intention! At this point, I’m seriously (e)motionless, thinking about listening to some Prince (RIP, man.) instead. But well, Motionless In White tried to step it out with the chorus again. But it just doesn’t work this time… This track comes like a punch to your face and leaves you feeling like it. You tried though… Sorry.
And if you ever wondered how Motionless In White would sound like when playing Pop Punk, “Voices” is a pretty accurate presentation of it. Now that song was okay. Nothing more, nothing less. What happens next? “LOUD (Fuck It)” happens and this Alternative Metal riff with the Manson-esque flair just don’t blend together well. It’s not really dynamic either and there’s nothing memorable here… It’s a mess.
Hey, now look at that! The first single is still the most enjoyable track on “Graveyard Shift”!
“570” actually has a message to offer and… The shit just works here! Now why doesn’t the rest of the record work like this one track? And you have to sit through nine tracks to get to this gem. That’s pretty tough.
When hearing “Hourglass”, it will become obvious that we finally arrived at the best part of the record and then you end up at “Eternally Yours”. At this point, I don’t want to lose any words about it. Motionless In White saved the best for last. I wish “Graveyard Shift” would be as ambitious as the chorus of “Eternally Yours”. But it isn’t. Too bad, actually.
This album sounds exactly the way its album cover looks like. Someone hit it with a truck and ran over it (more than) twice. It’s unbelievably flat and straight-forward. As someone who likes complex musical structures, “Graveyard Shift” was at the edge of semi-okay.
And as much as diversity is the most important thing on records, one should make it sound like standing behind it, if you know what I want to say with this. This album is diverse. But in a non-representative way. Or in a very dull way, if you want to have it like this.
The song structures sound out of place at times, making the album to a loud mess bound in impenetrable guitar walls.
The only extraordinary song was “Eternally Yours” for very obvious reasons – Recommended! – but that’s about it.
As ambitious as this record seemed to be before its release, it turns out to be just shallow and uninteresting. But die-hard fans of Motionless In White will love it anyway and that’s kinda important too, right?
Anyway… No matter how weird this record was, we’re still looking forward checking these dudes out live in Wörgl on 20th June. It’s gonna be fun!
Take a Listen:
- Eternally Yours
★★★★☆☆☆☆☆☆ // What was this?
Written by M. Nyman-Sramkova. May 2017.