Another year has passed and it seems the familiar goose bumps following Ice Nine Kills darker days of yore have dragged their way back to celebrate this year’s All Hallows Eve with their Final Cut edition of their bombastic 5th studio album The Silver Scream.
As many INK fanatics are well aware of, the bands dedication to the retelling of the much loved classic Horror laced literature and motion picture marvels is truly a wonderfully petrifying experience that the band are commended on time and time again. But this year their attention has shifted to celebrating the glory of last year’s epic addition to their discography, while further feeding the public’s thirst with six new scintillating tracks that fully tie off the bands exceptional range as well as demonstrates the softer side of their maniacal and menacing facade.
In the bands effort to keep fans ever guessing of what is next to come, they included several Acoustic lead versions of previous tracks on the original album, which are truly mesmerising to behold. Although its inclusion feels worlds away from its source material, its Folk Rock demeanour harkens back to the golden years of MTV UnPlugged’s iconic performances, while still retaining Spencer Charnas' bafflingly tender and emotive vocal delivery that can send you into a state of undeniable tranquillity.
Besides the sudden and necessary trip into serenity, INK don't disappoint with their previously unreleased track ‘Your Numbers Up’, which presents itself as a Symphonic Metal, Post-Hardcore and surprisingly Show Tune inspired extravaganza, detailing the epic first scenes of the SCREAM franchise – specifically referencing the brutal murder of Drew Barrymore’s character Casey Becker.
With such praise guaranteed for the Bostonites on all fronts so far, the only slight misstep comes in the form of their cover of Michael Jackson’s ’Thriller’. The late-Jackson’s work is notoriously known for being a cruel mistress in the covering process, as many never really seem to capture an essence worthy of standing alongside its original rendition. However, its appeal may be better appreciated alongside fellow cover attempts on the possible next Punk Goes Pop compilation. This comprehension is mainly due to its position on the album not entirely suiting the format of its predecessors and essentially slowing down the momentum build up of the entire album, which may lead easier into the folk inspired penultimate tracks but it still feels a little too cut and shunt not to be ignored.
The only thing that can really be said to sum up the entire experience of this infectious endeavour is a masterful display of the soundtrack to your worst nightmares, which delivers a wail-of-a-time riding the highs and lows of this tantalising trip through hell and back.