Awww man; Sex, Death and The Infinite Void, three things that you can think about on end forever but you can never solve.
It seems quite fitting for an album that asks so many questions and faces so many consequences, yet still leaves you feeling like you have been gutted by the time that the record ends.
Sex, Death and The Infinite Void begins in an ominous way, setting the tone for the album. An album which is meant to be cultish, unsettling; the throbbing bass making your heart pound. The first taste which slowly sends us ticking up the incline of the rollercoaster.
Creeper have always had something special with their cadence, the way Will sings ‘Be My End’ feels buttery and matched with the more theatrical ‘The Automatic”-esc backing vocals the song is catchy and cathartic. Several days after first hearing the song something primal in me rises when I hear “would you be be be my armageddon” and joining in singing just… lights something in my soul. ‘Be My End’ feels like abandoning responsibility and starting a bender, a clear highlight for sure.
It’s true, Creeper’s melodies are steeped in honey, they find the note that makes everything feel alright and use it sparsely so that when it does hit it hits hard. This is clearly displayed in the whirlwind of the first 5 songs, the album mellowing out to a steady pace after.
‘Cyanide’ has brilliant wailing vocals and sharp piano, whilst ‘Annabelle’ has a really clever bridge rhythmically and lyrically that fulfils me in a way that reminds me of being an angsty 15 year old. Both songs have lyrics that perfectly slot into their melodies, as if they were perfectly crafted, and after 2 years of cultivating maybe they were. Utilising Hannah’s vocals on the album added more depth musically and emotionally. ‘Four Years Ago’ is elevated by her contrasting tone, just like Cyanide is by the all-encompassing piano and the spacey guitar builds mystery on Paradise.
The album sees Creeper meandering their way through genres. Experimenting with folk and surf rock, among other genres, the band are keen not to restrict themselves to one sound. This leads to an almost impeccable five-song run right at the start, which blew me away, before leading down a gentle slope to genres I never thought I’d listen to by choice. T is just because those tracks are the engine to propel you through the album – one which on the whole is an incredible sophomore.
As the album progresses, even though you remember the unnerving threat of the first track you experience the euphoria of freedom, the realisation of dealing with consequence – the perfect album for lying on your bed under fairy lights as the music washes over you. ‘Poisoned Heart’ is a song for driving at night, ‘All My Friends’ is a song to emote to alone. Whilst cohesive as a whole, certain songs are more than happy to stand by themselves, a side effect of the band’s genre switching.
There is an energy within this album that is rarely captured successfully – of living with reckless abandon and facing consequence head on in a romanticised freedom. This aspect helps me draw similarities to Danger Days by My Chemical Romance, which perfectly captures the same adventure, yet this album carries the morose weight of actually having to deal with your consequences. Danger Days is mid summer aged 18, Sex, Death & the Infinite Void is turning 30 with the same mentality and it all going to shit.
Take the journey, face the consequence, stream the album in the dark or with friends and see what happens.
Creeper’s Sex, Death and The Infinite Void is released today via Parlophone Records and is available to purchase and stream now.