Having graduated from being horror punks long ago, Creeper’s journey has seen them expand their palette. From glimpses of Americana and classic rock on ‘Sex, Death & The Infinite Void’ to the Jim Steinman-worshipping found on ‘Sanguivore,’ Creeper have continued to be adventurous. ‘Sanguivore’ sequel, ‘Mistress of Death’, thematically takes place in the same universe as its predecessor. However, this time it tells the tale of a vampire band causing havoc amid 80s America’s “satanic panic”.
Once again, their world-building is done with precision, placing listeners in a land full of dark and devilish behaviour. “Rock music is a horny vampire,” says our narrator on ‘A Shadow Stirs,’ opening the doors to the quintet’s latest rock opera. It’s an apt way to set up what follows. Thriving with lush, Creeper‘s musical muscle sinks their teeth into 80s metal. Hints of Iron Maiden and Judas Priest, as well as Ghost, appear on ‘Blood Magick’ and ‘Headstones’. The latter gallops with deadly desire as Ian Miles, and new recruit, Lawrie Pattison, exchange fiery solos, while Hannah Greenwood’s high vocals merely add to its bold presentation. Along with the former, you’re given a lyrically raunchy pairing that amplifies the band’s grandeur.
William Von Ghould (aka Will Gould) is as commanding as ever. At times, fiendish in his delivery, tracks such as ‘Prey For The Night’ and ‘Parasite’ see him adopt a deeper, almost monotone, style. It allows the choruses to thrive vibrantly, drenched in leather-clad 80s arena rock reminiscent of Bon Jovi and Billy Idol. In between ‘Daydreaming In The Dark’ is pinned down by theatrical goth rock with “woah”s worming their way into your subconscious.
As with every Creeper album to date, keyboardist Greenwood is given the spotlight to shine on vocals. This time around, ‘Razorwire’ stirs up imagery of a smoke-filled jazz club decorated with the decapitated “trophies” our titular character has collected. Greenwood’s vocals are sultry, evocative, and compelling. Throw in a squealing saxophone solo, and you’re left with a horny yet wicked standout.
Away from the grandiose rock, there are moments such as ‘The Black House,’ that take the form of goth-tinged new wave. Combining a disco beat and plucky synthwave verses with a soaring choir chorus, it weaves in televangelist soundbites. It embeds itself firmly into ‘Sanguivore’s demonic lore. Yet as the final track, ‘Pavor Nocturnus,’ shows, ‘Sanguivore’ isn’t all about vampiristic intent. There is a desire to be loved and accepted, whether that is by the ‘Mistress of Death’ or something greater. It’s a monumental closer containing rich orchestration, a gospel choir, and soaring vocals from Patricia Morrison (ex-The Sisters Of Mercy).
Although the urgency of early releases might be lacking, Creeper‘s ambitious scope is as wide as ever. Conceptually astute and musically assured in its execution, ‘Sanguivore II: Mistress Of Death’ allows the five-piece to thrive in bleak grandeur. Sure, it’s overblown and pompous in places, yet the temptation to keep coming back remains through their ability to provide big hooks. If anything, it raises the bar for the final part of the apparent trilogy higher.
‘Sanguivore II: Mistress Of Death’ by Creeper is released on October 31st on Spinefarm Records.
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