Scoring The End Of The World: Motionless In White new album review
On June 10, 2022, the new Motionless In White album was released by Roadrunner Records: Scoring The End Of The World. Preceded by the singles Masterpiece and Cyberhex, the thirteen tracks merge into a perfect blend of industrial/digital and hardcore.
Scoring The End Of The World
In this new work, MIW have chosen to break away from what made the rhythm of their previous albums swing, to give new shape to the lyrics of the songs and somehow make them more pounding, more indelible. With a push towards electronics and persistent use of the keyboards, they have created a unique style that melts into Chris’s melodic singing. It almost seems to listen to the residues at the “end of the world”, citing part of the main track, where the human merges with the machine.
Scoring The End Of The World, released with the collaboration of Mick Gordon (Australian composer and musician), is the album’s latest single and flagship title. We can define it as the strong point, which mixes keyboards and drums creating a “last war” background that well accompanies the text, in which the desire not to give up, to fight, merges with “the dawn of a new age” that it uses words and music as a defense weapon.
And for Motionless In White, it looks like the beginning of something new. A path that sees their musical history tangle with the past but points towards the future.
Let’s take a step back and after analyzing the last song on the album, let’s go back to the first one on the list. Scoring The End Of The World opens with the single Meltdown. In this piece, the rhythm is pressing, almost psychedelic, and the single speaks to us of an apocalypse, of an inevitable collapse towards the end. It is a provocative text, whose refrain burns the stages and explains what the theme of the entire album will be.
The next tracks are Sign Of Life and Werewolf; the first focused on the melodic, on Chris’s clean voice that harmonizes well with the instruments, while the second with something dark, vaguely Michael Jackson-like, a lower and more constant rhythm, almost supernatural just like a “werewolf”.
In the center, we find Porcelain and Masterpiece, which change course and make an inner reflection. Darker, they focus better on the sound of the drums and electric bass. And we also find Slaughterhouse, in collaboration with Bryan Garris (lead vocals of Knocked Loose), and Cause Of Death, in which Chris’s growl comes out to spread throughout the song alternating with the melodic, according to his personal style.
We Become The Night gives breath to listening; we could define it as a piece out of the chorus, which attracts attention, well timed. This is followed by Burned At Both Ends II which together with Cyberhex swoops and becomes blurred, the pace remains high but at the same time decadent, showing the heavier side of the album.
Corpse Nation rings the Halloween bell, a new, dark “broadcasting from beyond the grave” that awakens horror with a “Corpse Nation”. And finally, we conclude with Red, White & Boom, in collaboration with Caleb Shomo (voice of the Beartooth group), which makes sparks before closing with Scoring The End Of The World.
With these thirteen tracks, MIW have given a significant change to their style. While maintaining different influences, they have been able to create a unique current, a flow of songs that marks their musical growth. Once again they leave behind a legion of enthusiastic fans and raise expectations of what they can do in the future.
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