Review: Motionless In White ‘Disguise’

Motionless in White Disguise.jpeg

I guess it’s time to break out the eyeliner and revert back to your teenage scene phase because Motionless In White released a new album.

The band’s fifth album Disguise dropped on June 7th and considering I adore Motionless In White, I was ridiculously excited for the album. Especially since their new work is incredibly reminiscent of some of their older releases. Even with the loss of longtime member Devin Sola who departed from the band last May, the band appears to have fully recovered. When you’ve had such a solid sound since 2005, plus the vocals of Chris Cerulli, it’s the perfect recipe for an amazing sounding band that doesn't look like it’s going anywhere anytime soon.  

The few songs released prior to Disguise added to my intrigue of the album, especially since we were blessed with the song ‘Undead Ahead 2: The Tale Of The Midnight Ride’ an awesome sequel to the song off of Creatures. Having done something similar on Graveyard Shift it is an interesting new trend in their music. As much as many could say it’s a scam to produce more tracks for an album the sequel songs are good and definitely deserve to be there. It is also nostalgic for fans that have been around for a while, to see this band evolve old songs to fit how they make music now. It really is a wildly interesting concept to me whenever bands do this and I really hope Motionless In White in particular continues this trend.

The other two singles released, ‘Disguise’ and ‘Brand New Numb’, share a similar sound to that of Creatures as does most of the album. Motionless In White is clearly going back to some of their roots for Disguise and it is even prevalent in the album art.

So far my favorite would have to be “Thoughts and Prayers” thanks to the fact that it is one of the more angst-driven tracks that Motionless In White has perfected. And the vocals on it were way too good to ignore.

Previous
Previous

MCR Reunion? Jonas Brothers Reveal It May be In The Works.

Next
Next

Review: Frank Ireo and the Future Violents ‘Barriers’