“Rock music is a lustful vampire,” proclaims the spoken-word intro of ‘A SHADOW STIRS’, the opening track on Creeper's fourth full-length album and companion to 2023’s ‘Sanguivore’. This introduction features a guest appearance by Patricia Morrison, who narrates dramatically over a composition that incorporates ‘80s-inspired synth rhythms, choral elements, and the sort of bold synth bursts typically associated with ‘90s ballads, providing a warmer vibe than one might expect from the album's horror-themed setup—‘Mistress of Death’ included. The track, especially the quoted line, effectively sets the scene for a record where the grandeur rivals that of the glam metal it draws significant inspiration from. There’s also a (rather expected, to be fair) lyrical twist that prompts more than a few moments of ‘wait... did he actually say that?’.
There’s a talent in utilizing tropes without descending into cliché, and throughout ‘Sanguivore II...’, Creeper seemingly excels at it. With extravagant guitar solos, metallic breakdowns, and key changes in the final act, the album, while not quite tongue-in-cheek (though the line about “some nights are as cold as ice…” in ‘MISTRESS OF DEATH’ makes one wonder), flirts with that territory; the band’s dedication to the aesthetic is admirable. Its ‘80s extravagance is delivered with a sense of urgency, creating a mental backdrop for a hard rock-themed cinematic adventure. Thus, when certain moments feel overly familiar, it only highlights the band's artistic vision: the chorus of ‘BLOOD MAGICK’ is practically ‘Heaven Is A Place On Earth’ infused with a dash of Bon Jovi; the intros of ‘PREY FOR THE NIGHT’ and ‘DAYDREAMING IN THE DARK’ evoke ‘Kids in America’ and ‘Simply the Best’, respectively; and most strikingly, the synth pulse of interlude ‘FROM THE DEPTHS BELOW’ closely resembles the opening sequence of Stranger Things. Even the out-of-era similarity of ‘THE CRIMSON BRIDE’, with a chorus melody reminiscent of the Manfred Mann-released, Bob Dylan-penned ‘The Mighty Quinn’, engenders a sense of anemoia; it’s a new album, indeed, but its blend of time and genre conventions, much like the aforementioned show, creates the impression that it has always existed.
The lyrical references are so engrossing—Creeper releasing on Halloween is no shock to anyone familiar with them—that some clever metaphors may go unnoticed. ‘THE BLACK HOUSE’ arrives musically like a faster-paced Joy Division track, with its booming bass line strutting above disco-like drums, offering a chorus that initially raises an eyebrow but ultimately provides a blush-inducing moment: “In her heart-shaped pool / Inside her palace of pink / Inside her red leather hall.” As the sprawling closer ‘PAVOR NOCTURNUS’ reintroduces the album’s narrator after a tumultuous blend of piano, choir, saxophone, and strings, it suggests that indeed, rock music is a vampire, and yes, it’s also quite lustful.
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