‘…Much like many sequels to beloved movies, ‘Sanguivore II: Mistress Of Death’ is an undeniable disappointment that cheapens much of what the original had to offer…’
Creeper have been icons of the UK rock scene since they exploded onto the scene with their debut LP, ‘Eternity In Your Arms‘, back in 2017. Praised for their theatrical and gothic take on punk, the band would seemingly break-up live on stage on 2018, before re-emerging as the ‘Fugitives of Heaven‘ in 2019, teaching listeners never to make assumptions as to what Creeper would do next. Their 2020 record, ‘Sex, Death, and the Infinite Void‘, scored a 100/100 here, thanks to its spectacular, cinematic blend of emo, britpop, and glam rock.
In 2022, the band would take to the stage for a one-off headline show entitled ‘When the Sun Comes’, which culminated in the apparent beheading of vocalist William Von Ghould, and the transition into their ‘Sanguivore‘ album cycle. The band pushed further into the realms of glam rock, goth rock, and heavy metal, culminating in a critically acclaimed listen crammed with grim and gory tales of vampire hunters, serial killers, and lust in the lofty towers of the castles of the undead. It was a ridiculous record, undoubtedly, but one that the band managed to pull off thanks to their strong musical talents, deep creativity, and willingness to experiment.
Yet when this year rolled around, it became clear that Creeper were doing things a little differently. Instead of reinventing themselves completely for an entirely new album era, the band elected to follow up ‘Sanguivore‘ with a spiritual successor that took the themes of the prior record, and spun them as a new story; ‘Sanguivore II: Mistress of Death‘ was born. Thematically and musically, Creeper have kept things similar to what they crafted on their previous entry, with a heavy focus on glam rock and heavy metal, and a desire to craft something that is bold and theatrical. Yet from the get-go, this may have been the stake through the undead heart of this record; Creeper are a band that have thrived on reinvention, and their decision to remain within the realm of ‘Sanguivore‘ showcases the pitfalls of choosing to defy this.
Things start off strong, with the title track serving as an immensely glamorous yet ferociously dark cut that is packed with weighty 80’s guitar work, soaring vocal melodies, and devilishly infectious melodies. Things deteriorate immediately after this however; ‘Blood Magick (It’s a Ritual)’ is packed with punchy riffs and spirited choral vocals, but Ghould’s vocal delivery misses the mark completely. The choruses are meant to sound brooding and theatrical, but his peculiar lower register and over-annunciation leave it feeling just a little silly. Similar can be said for ‘Headstones’, with catchy, bouncing choruses colliding with disappointingly daft verses; it feels like a Tenacious D b-side, rather than a glam rock banger. Ghould’s vocals, once powerful and soaring, are an irredeemably and irritatingly wasted again and again.
This reaches its worst on ‘Parasite’, with Ghould’s ‘She had a body just like a grave’ and ‘suck suck suck’ bars showcasing all of the record’s flaws perfectly. There are only so many ways you can write about vampires and sex before it feels less like a commentary on lust, obsession, and spiritual connection, and more like a comedy record that parodies what made Creeper so special. There’s no subtlety or intelligence here, and instead of the soundtrack to a cult classic horror b-movie, much of the record ends up feeling like a sleezy, crusty VHS that you would find under your Dad’s bed.
‘Prey For The Night’ does unfortunately feel a little repetitive at times, with choruses that are lyrically insubstantial, but moments such as the introduction of a saxophone and the shiver-inducing key-change in the track’s climax makes any issues worth forgiving. ‘Razor Wire’ is a slick and swaggering affair that places Hannah Hermione on vocals, showcasing her continued improvement as a vocalist from album to album. Unfortunately, this track is also hampered by a chorus that near directly lifts its melody from ‘Black Velvet’ by Alannah Miles.
‘The Black House’ has a sparkling new wave inspired instrumental, with pulsing bass lines and driving percussion that commands you to dance. The vocals, yet again, fall flat, with Ghould sounding totally buried during the choruses, but the performance is at least somewhat less egregiously dramatic than on prior tracks. Mercifully, when all hope seems lost, ‘The Crimson Bride’ provides a return to form, with its chunky bass lines, dramatic guitar solos, and echoing bell chimes working perfectly to give make this track a devilishly gothic delight. The choruses are wonderfully executed, whilst the breakdown is a moment of much needed grit amongst the rest of the record’s theatrics.
Much like many sequels to beloved movies, ‘Sanguivore II: Mistress Of Death’ is an undeniable disappointment that cheapens much of what the original had to offer. Creeper once offered a thrilling combination of horror, punk, and cinematic grandeur that broke hearts and captured the minds of metalheads and emos alike. By the time the twee, overwrought conclusion of ‘Pavor Nocturnus’ plays out, it feels as though Creeper truly have become devoid of ideas, and have served up a cheap, rehashed, disappointing vision of goth rock that will go straight to home VHS.
RATING: 54/100 – Average
For Fans Of: Meat Loaf, Ghost, Zetra, Lordi, Foxy Shazam
Physical copies are available to purchase here.
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