Change can be scary. It can also be exciting. It all depends on who you ask. Regardless of your stance on change, it is inevitable. Whether you are ready, or willing to accept it; The Creepshow have changed since their last album They All Fall Down. And not just in regards to the band’s lineup, which now sees Kenda “Twisted” Legaspi take over from previous vocalist Sarah “Sin” Blackwood, Sandro “Blood” Sanchioni has taken the drum stool from Matt “Pomade” Gee, and Daniel Flamm joins on rhythm guitar.
The very first thing I noticed before I even pressed play on The Creepshow’s fourth record Life After Death was the lack of the “The Sermon” intro. Despite being a short spoken word intro of less than a minute, they were one of my favourite things about every album. Instead “See You In Hell” opens the record, starting this new chapter with the sound of medical machinery flatlining.
Don’t worry, it’s not a bad omen that suggests the album is dead on arrival. The 11 tracks heard after the flatline give meaning to the record’s title – there is indeed life after death.
Life After Death is not instantly catchy like They All Fall Down, but it only takes a few listens to get hooked. It follows the classic ’50s rock feel the band has already well established, while adding elements of punk, classic rock and of course retaining their psychobilly roots.
Tracks such as “Born To Lose” mix eras by adding ’70s sing-a-long vocal choruses to the ’50s groove – the perfect song to listen to on the open road. “Last Call” is the token drinking song every good psychobilly album needs. Laying closer to the punk line, “Last Call” is a rowdy affair, all horns and upright bass as Sean ‘Sickboy’ McNab takes over vocal duties.
The Creepshow might be going through some changes, but Life After Death is still a Creepshow album at heart. Would you really want just another Sell Your Soul, Run For Your Life or They All Fall Down? Of course not. You want something new, and you can’t have that without accepting change.
The Creepshow successfully bypassed the awkward period as new members join, and old ones leave. As tight as ever, every song shows the bands strength with slower storytelling tracks (The Devil’s Son) to fast, relentless rock ‘n roll (Saints & Sinners, Take It Away).
Bringing the album full circle, sounds of hospital machinery return at the end of the closing, and title track. Our flatlining friend at the beginning gets another lease on life, as a heartbeat is restored – or you know, life after death.