Review Summary: Overtly ‘hit and miss’ in a style where ‘hit’ shouldn’t even be a plausible outcome.
Comprehending the ipseity idiosyncrasies of any genre can be a bewildering task. The aforesaid is quantified with an exceptional abundance of juxtaposing presently afoot, and more so frivolous; articulating that singular essence of individualistic coherency can be an adequately burdensome endeavor for any modernized band. Almost everything to be done in music has been done. Be it the initially thought absurd concept of employing Jazz elements atop the foundation of Death Metal or adding prominent traces of 8-bit electronica with Metalcore instrumentation. Its almost veracity to ponder the concept of 'individualized song composition being implausible'. So what’s a band to do in the modern era of music? How does one attain a signature style, synonymous with their name? In the case of Metalcore/Post-Hardcore troubadours, Motionless In White, the answer to the aforementioned inquiry was nothing short of simplistically playing to the most prominently popularized concept within the scene at this specific interval.
Indeed, Motionless In White do virtually nothing new. Subsiding creative substance, they rather partake in regurgitated approximations that have been done to death, overtly indulging in the cancerous chug-chug breakdowns, contrasting harsh vocals with high-registered cleans, coating their musical compositions with synth work, etcetera. Peculiar as it may seem, these exponential cliches which the band flourish in (promenading about as their sounds infrastructure) are hit and miss. This itself is ‘peculiar’ for the fact that it actually manages to ‘hit’.
The most integral components to the band are undoubtedly vocalist, Chris, and keyboardist, Balz. Whilst individualistic mannerisms are devoid for the band, as was aforementioned, Creatures, upholds an overtly stunning performance from both the perspective of vocals and keyboards. Vocalist, Chris, spews an array of brilliant vocalizations. Predominantly lingering within the mid-range harsh vocals, he breaks a module of singular range by flourishing in both high and low range ‘screams’ also. What’ more, he does a damn good job at it. At times sounding reminiscent of August Burns Red vocalist, Jake Luhrs (e.g “Abigal”), Chris has unfolded his prominently talented array of harsh vocals. Like all things, however, Chris is not without flaw. His clean vocals leave something to be desired. Sounding hollow and without intention, the cleans remain cliche, and utterly unneeded, only hurting an otherwise capable vocalist. Lyrics, alike the clean vocals, are substantially faltering. When lines such as “Real beauty on the inside does not apply to you / I am the ripper, and its killing time in this cutting room,” are reverberated, a resonating sense of dissatisfied emptiness seems to infatuate the listener. They don’t fabricate visual spectrums of a tale, they don’t connect on a personal level, they don’t represent an opinion... they’re just there, in an unimpressive fashion. In the end however, the two negatives falter at detracting from the overall ‘impressive’ vocal performance.
As was antecedently noted, the work of keyboardist, Balz, is unprecedentedly intriguing, to say the very least. Following in the footsteps of bands such as Attack Attack!, I See Stars and We Came As Romans (to name a diminutive handful), “Creatures” saunters in the prominent bestowment of injudiciously inadequate, unpersuasive and (basally) ‘lame’ House/Dance synth work. The outlandish mannerisms are showcased in such an intelligent fashion, however, that the overt ‘chessyness’ of the synth is almost without notice for a substantial allotment of the record. The keyboard work, whilst never pertaining to actual piano, per say, is the most obstructive component in the articulation of atmosphere. Tracks such as “Puppets (The Final Show)” and “Scissorhands (The Last Show)”unveil intellectualized synth patterns, and intelligently selected orchestra-based instruments, which fashion a brilliant semblance. Conjuring an almost epic tone for “Creatures”.
Drummer, Angelo, bassist, Ricky and guitarist TJ & Ryan do an exceedingly well job at being horrendously boring. However, they do an even more substantial job and intellectually blending their instrumentation with that of keyboardist, Balz, so to fabricate an enticing atmosphere. Each member (subsiding the bassist, of course), have brief intervals of enjoyable compositions, though these moments are far-and-few between the monolithically monotonous aspects of generic playing.
Certain tracks pertain to nothing distinguishable, and blend in with one another, whilst others saunter about on the very opposite end of the spectrum. Throughout the duration of this 43 minute record, the most basal styling lingers as high energy and aggressive. Due to the monotony that resonates within this album, 43 minutes can be a tad unsettling, which makes for a pleasant flourishing within the gentle and delicate “City Lights”, which acts sufficiently well as a breather.
In conclusion, “Creatures”offers little diversity and originality to a genre that is becoming as stale and stagnant as Deathcore and Technical Death Metal; though at the very same time, the album finds a way to progress the ever so rotting ‘scenecore’ styling of music. Substantial quantities of potential are scattered throughout “Creatures” and the band dexterously attain the crown for ‘best of the worst’.
