Motionless In White’s dark and Halloween-inspired debut album was a hard-hitting electronicore experience not meant for the faint of heart, but where Creatures provided catchy choruses to balance things out, Infamous branches further into metal territory with rapid-fire drumming, unrelenting guitar riffs and ferocious screams and growls to set the intimidating, Marilyn Manson-like tone. There are still electronica influences like synthesizers to lighten things up and lead singer Chris Cerulli impresses with his instantaneous switches between blood-curdling screams and surprisingly clairvoyant clean vocals as the band once again centers their songs around exposing hypocrisy in the most aggressive and combative mode possible.
Although the majority of Infamous lacks the consistent presence of synthesizers that made Creatures so enjoyable, “Devil’s Night” brings a touch of electronic influence to go with the newer emphasis on incredibly aggressive composition: Angelo Parente’s lightening-quick drumming and the resonant, buzzing riffs and chugging from Ryan Sitkowski and Ricky Olson are topnotch. As the best song of the album, “Devil’s Night” establishing the album’s hardcore vibe and never lets up despite Joshua Balz’s pleasant keyboard and synth additions, which even include some Linkin Park-like turntables.
With its raging electric guitar riffs and and a thrilling and positively spooky chorus, “Burning At Both Ends” is a close second behind “Devil’s Night” for the best song of Infamous. A sultry and compelling bass hook from Devin Sola shines as one of the song’s best moments, but every unstoppable wave of guitar riffs and pounding drums is just as impressive as Cerulli cries out, “I’m holding on to a life I’ll never get back, it’s too hard to let go / I’m on the right train but the wrong tracks, trying not to derail / Nothing is like it was before, I know not who I am anymore / Chasing something that’s behind me, when will I be set free? / Broken promises left to mend, burning the candle at both ends.”
“Sinematic” changes the pace with a brooding and electronic-powered goth ballad that captivates and haunts at the same time. Cerulli’s clean vocals are mystifying and pure at the start, but soon progress into high-pitched wails and raspy shrieks that convey desperate emotion appropriately for such a dramatic and powerful song. As the guitars and synth beats rev up for its climactic finish, it’s impossible not to marvel at this young band’s skill and masterful composition, especially as the humming guitar riff fades out with the sad but stirring piano.
If Creatures was not meant for the faint of heart, Infamous is acceptable for only the most hardcore. With jaw-dropping drum beats and in-your-face guitar-chugging, Motionless In White steps their metalcore sound up to another level with a heavier and downright wicked followup that is entirely superior to its predecessor. If you can stomach this kind of ruthless and tenacious sound with truculent songwriting to boot, Motionless In White’s Infamous may be the album for you. From the welcome guest vocals of Bjorn Speed Strid on the raging “Puppets 2 (The Rain)” to the synth-filled aggression of “If It’s Dead, We’ll Kill It,” Motionless In White goes harder than ever before without straying too far into overwhelming territory. Fans of Miss May I, The Word Alive, Of Mice & Men, Scarlett O’Hara, Memphis May Fire, Marilyn Manson, Asking Alexandria and My Ticket Home will be able to relate to this band’s heavy sound, but not many come close to this kind of well-crafted savagery that just demands playtime on any hardcore fan’s Halloween playlist.
Final Score: 8/10
Rank: 1st (two total albums)
- Black Damask (The Fog)
- Devil’s Night
- Burned At Both Ends
- The Divine Infection
- Puppets 2 (The Rain)
- If It’s Dead, We’ll Kill It
- Synthetic Love