One of my favorite developments within the metal genre over the past 10 to 15 years is the perfect balance certain bands have made for creating bombastic stage shows and even greater music. An affirming point to this argument is the horror movie connoisseurs, Ice Nine Kills (or INK). Even though their earlier stuff felt too scene for my liking, their album and sequel to the Silver Scream, Silver Scream: Welcome to Horrorwood. To communicate the impact it had on my own music taste and the way I approached gimmick bands, we need to analyze each track and come to a verdict on just how masterful INK has built their music and image.

“Opening Nights”: 4

   The album opens with a short prelude via a spoken-word by police officers (like The Texas Chainsaw Massacre), setting up the album’s murder mystery plot.

“Welcome to Horrorwood”: 4

   The first full-length track starts with a somberness. Spencer Charmas’ vocals are emotional; even with the holistic feeling listeners are engulfed in, there’s beauty throughout the melody. When the chorus finally bursts into a grand ballad. Ricky Armellino and Dan Sugarman fill the entirety of the mix. Even with their rhythmic nature, they push the soaring vocals of Chamras. Patrick Galante’s playstyle perfectly blends the heavy-handed drumming of Metalcore with the grandiose feeling of theatre. 

“A Rash Decision”: 4

   This track is probably one of the heaviest on the album. Armellino and Sugarman present a Thrash-oriented listening experience. Charmas’s higher screams are basic, but with the percussive approach, it is a perfect fit for the song. A “Rash Decision” is based on the 2002 horror movie, “Cabin Fever.” Co-written and directed by Eli Roth, Cabin Fever follows a group of teenagers who rent a cabin in the woods only to find they have been exposed to a flesh-eating virus.

“Assault & Batteries”: 5

   Listeners are immersed in a fun Nu-Metal track. The speed and groovy riffs of Armellino and Sugarman are masterfully put together. Yet alone, Charma’s killing it on the theatrical presentation with a merging of traditional Metalcore as well. The song’s theme correlates with the events of the “Child’s Play” series.

“The Shower Scene”: 5

   Even with its basic Metalcore approach, this is by far the most gripping track, at least within the realm of the subgenre. One aspect that always stands out to me is the way Galante’s is mixed. In my opinion, it is one of the best-sounding kicks in modern music; it balances the heaviness of the song with the emotion it brings out of said heaviness. The song is based on the 1960 classic horror movie, “Psycho.” Produced and directed by Alfred Hitchcock, the film follows Norman Bates and the disappearance of Marion Crane. The title makes specific reference to one of the most iconic scenes in film history.

“Funeral Derangements”: 3

     This may be a record. After six tracks, listeners hit a speed that stunts the momentum. Not to say this track is basic. For someone who’s listened to Metalcore for a long time, sometimes when a track is too bare-bones, it can become ineffective. I highly suggest listening to it on your own to create your own opinion. The song is based on the 1989 film “Pet Sematary,” an adaptation of the Stephen King novel “Pet Sematary.” Perhaps this is the reason why I’m not a big fan of the track, since the film and book are one of the weaker pieces by King. Seriously. The chilling thing about the movie is the toddler getting run over by a semi (which is shlockily shot). 

“Rainy Day”: 4

    Luckily, INK was able to recover the album with “Rainy Day” and its structure. To put it lightly, the band brings back the “The Shower Scene” approach, except it isn’t as good. It’s still effective, but there isn’t a lot to talk about. It illustrates the horror video game series, “Biohazard (バ イ オ ハ ザ ー ド)”, in Japan, renamed in the United States and Europe as “Resident Evil,” which is one of my favorite Capcom series aside from DMC.

“Hip To Be Scared (Feat. Jacoby Shaddix)”: 5

   Charmas and Co. truly tap into their own with this track. INK garners the elements of Metalcore, Theatre, and even some Nu Metal to homogenize one of the best tracks in their entire discography. The addition of Shaddix raises the bar on emotion and, equally, melody. The song & its music video are directly based on the 2000 horror comedy film ‘American Psycho’ starring Christian Bale as serial killer Patrick Bateman.

“Take Your Pick (Feat. Corpsegrinder)”: 3

   Man, this track had potential. It’s barebones with little to no stylizations. The track slowly becomes basic Deathcore or mediocre Metalcore. On top of that, George “Corspegrinder” Fischer’s vocals are an earworm. Even though he’s been a revolutionary figure in the Metal community, it’s meh. 

“The Box (Feat. Brandon Saller, Ryan Kirby)”: 5

   Even though I said I wasn’t a big fan of the Warped Tour-esque INK, this track modernizes it in a way that is easily consumable by me. The chorus (even with its neophyte nature) hits hard with Saller and Charmas’ soaringly haunting vocals. Sugarman and Armellino’s lead and rhythmic balance are older and newer tropes from the genre. 

“F.L.Y (Feat.Buddy Neilson)”: 3

   I will be honest, I forgot what this track even sounded like. If I remember correctly, I felt the same with “Funeral Derangements” with its boring approach to Metalcore. 

“Wurst Vaction”: 4

   Finally, we are back to the perfect bread and butter for INK. I absolutely adore the theatrics of this song. It is by far one of the more unique songs. The way the song flows resembles “Hip To Be Scared” with the scattered song structure.

“Ex-Mortis”: 5

   This is by far one of my favorite songs, not just on the record but in their entire discography. Their play style from “Assault & Batteries” returns with a bang. The riffs on display from Sugarman and Armellino are punchy and attitude-filled. Chamras perfectly transitions between his theatric flare and melodic Metalcore. 

“Farewell II Flesh”: 5

   When I approached the end of this record, I wasn’t sure how it would be presented. For the first few minutes, it was exactly what I was expecting, a somber odyssey filled with emotion and piano work from start to finish. Then the track burst into a full-on ballad. I can’t even explain the grandeur of the track. This is by far one of the best endings of an album. It’s a zenith, dipping into each element that made this album a masterful journey through Horrowood.

   Overall, their approach to music is unique. I am a heavy believer in great stage shows, especially when it matches up with the entirety of the tracklist. However, few bands have truly mastered the balance that Ice Nine Kills has.