Gothic Rock | Post-Punk | Emo Rock
I must admit, this week has been a weird one musically. As well as being a personal creative obstacle of a week, it has also been a week in which I wasn’t truly anticipating any album that were out this week. Although, the turnout for new singles have definitely been a topic to rave about.
But back to albums, I resorted to revisiting Album of the Year’s new releases to check if there were any new creative projects that I liked the sound of. I also played around with the possibility of reviewing the new Fontaines D.C. album A Hero’s Death. But ultimately, one album in particular had beckoned for my attention, and given the situation, I have finally decided to give Sex, Death & The Infinite Void a chance, and give credit to the album where it was due.
Sex, Death & The Infinite Void is the sophomore album from Southampton-based gothic rock band Creeper, a group that I have been aware of for a while now, and one that I had always felt I should’ve been more interested in that I had been, given their whole aesthetic, and great similarity to the likes of My Chemical Romance.
Oddly enough, I had thought this album came out considerably earlier this year, but clearly I am to be mistaken. I think what made me reluctant to explore this album at first, was their likeness to the aforementioned MCR, and given that the group had announced a return back in 2019, I felt that the fill-in from Creeper’s end felt less necessary. But it would be unfair to say that that reason alone was completely why. In most cases, I’m not a massive fan of the overly melodic punk-rock aesthetic which I loosely picked up from what I had heard from their 2017 debut. But once I delved into this album as a last resort of sorts, I did notice a marginally refined nature to tis second project.
But anyway, despite having a total of 16 tracks, Sex, Death & The Infinite Void is an experience that only lasts just under forty minutes. The most obvious reason behind this, is clearly the abundance of transitional tracks (intro, interludes, and outro); five of them, to be exact. And while I wouldn’t have minded this, as long as they added a strong narrative structure to the album, I personally felt that they failed to do so, and instead came across as haikus of gothic terminology, and not much else.
Moving on to a much more positive aspect of this album; it has got to be the teaser tracks, particularly those that fill in the earlier part of the album. I admit that I hadn’t listened to any of them fully prior to the release of the full album, but they really did help me to become engaged in what felt like an oddly enjoyable experience (considering the gothic-rock aspect), and truly felt like something that captured the spirit of what made MCR enjoyable. Songs like “Be My End”, “Born Cold”, and “Cyanide” are tremendously infectious.
And while the enjoyable tracks don’t all huddle around the early segment, they do unfortunately feel a lot more scarce, the further I go into the project. A lot of the tracks weren’t exactly bad fundamentally, but they didn’t exactly feel very memorable either. In fact, there were even a few tracks which I initially liked enough to keep saved, but they quickly lost their appeal.
I do think that this albums biggest Achilles heel, is its lack of concept and storytelling. The whole thing just feels very…typical, of an album of the genres that Creeper wield. What I would love to hear from their next project, would be an album with the same strong sense of aesthetic, with a far more solid narrative.
Nevertheless, I did find this equally campy and moody album to be a solidly enjoyable and quite fun experience. It is most certainly the most unique of this week’s albums, in my opinion, and may even carry my attention over to their supposed next project.
Favourite Tracks: Be My End | Born Cold | Cyanide
Least Favourite Track: Four Years Ago
Roadrunner Records | Warner Records UK