Creepoid

Creepoid

Creepoid

Cemetery Highrise Slum

Collect Records

The gloomy, distortion loving, sonic sauna that is Creepoid’s new record Cemetery Highrise Slum has made a home beneath my skin when I wasn’t paying attention. Such stealth, such persistence, the Philly band kept me coming back for more even before I had decided I liked what I was hearing. They’re an acquired taste that got better after repeated exposures, like Prometheus, or kale. The same thing happen to me, recently, with the first Metz album. Maybe it’s the hypnotic drone and fuzzed out reverb that both bands harness that takes the brain a bit to wrap itself around. Only where Metz takes the Sonic Youth-ian feedback noise and cranks it up to 11, Creepoid drags it into a dream and turns sound into an ambient feeling much in the way Mazzy Star did, only a Mazzy Star that had Kurt Cobain stepping in on vocals.

The vocals are split between Sean Miller and Anna Troxell, though — like with the Pixies, who seem an obvious influence on the band — the brunt of the lead duties fall on the male side. This imbalance only serves in making the Anna-led songs sparkle all the more for their sparsity, as on the sensual underwater slowdance “Fingernails.” Anna’s dreamy, airy vocals are like a cool breeze in between Sean’s more foreboding presence.

On this, the band’s third — and most fully realized, album there are some actual standout singles. “American Smile,” “Devil in the Subtext,” and especially “Dried Out” could all be hit songs, and probably would have been back in the days when 120 Minutes reigned. Creepoid are bringing shoe gazing noise pop back beneath a heavy blanket of mope and dope. It’s dark, it’s dreamy, it’s melodic, and delicious and Cemetery Highrise Slum is an album many of us 90’s kids have been waiting for without having realized it. The nights of spacing out and getting lost in the pretty drone are back.

creepoid.com

Leave a Comment

Your email address will not be published. Required fields are marked with *

Cancel reply

Recently on Ink 19...

  • Zombie
    Zombie

    One of the most notorious horror films is back for its 40th anniversary.

  • Tyrel
    Tyrel

    Tyrel is the new feature by controversial Chilean director, Sebastián Silva, who here invites you to spend a weekend with the film’s African-American protagonist while he suffers through an alcohol-fueled and epically awkward birthday celebration.

  • Sick Note
    Sick Note

    If you have a problem distinguishing between highly inappropriate and hilarious, then Ian Koss thinks this show is for you.

  • Christmas Is…
    Christmas Is…

    Todd Allen Long sings an eclectic collection of Holiday favorites.

  • Bloodlines: The Art and Life of Vincent Castiglia
    Bloodlines: The Art and Life of Vincent Castiglia

    Vincent Castiglia is an painter, tattoo artist, metal guitarist and the man who captures amazing images in blood. Bloodlines takes you into his works and world.

  • 100 Things to Do in Orlando Before You Die (2nd Edition)
    100 Things to Do in Orlando Before You Die (2nd Edition)

    A tourist guide to some of the fun things only locals know about in the City Beautiful and surrounding countryside.

  • Say Sue Me
    Say Sue Me

    Christmas, It’s No Biggie (Damnably Records). Review by Bob Pomeroy.

  • Lucius
    Lucius

    Christmas Time is Here. Review by Phil Bailey.

  • Tarik Aktaş
    Tarik Aktaş

    Dead Horse Nebula director, Tarik Aktaş, speaks with Generoso Fierro about his AFI Fest 2018-selected debut feature.

  • Beth Hart
    Beth Hart

    Beth Hart – Live At The Royal Albert Hall (Mascot Label Group/Provogue). Review by Michelle Wilson.

From the Archives