Inspiration and reflection can be found in places we seek comfort and mental stimulation, and it is a true testament to how in tune we are with the messages in the media around us to interpret a creative work and encompass its energy into our own creative expression. It takes a very understanding and open mind to find the parallels between the media we consume and the lives we live, and to be able to take inspiration from our influences is a beautiful way to connect our personal lives with the themes presented in films and songs. Won’t Stay Dead takes inspiration from a variety of films and utilizes dialogue and themes to deliver a record that transforms their difficult times into haunting songs that can provide support and affirmation to those in similar situations.
Horror punk is defined as a genre that mixes elements of punk with morbid themes and violent imagery influenced by horror films. Many of these songs are accompanied by sound clips from the films that influenced the lyrics’ narrative. There’s no shortage of burials, stalkers, and blood in the lyrics as the album delves into the descriptions of antagonistic behavior that have plagued the songwriters’ lives. While experiences may vary, there is a common scenario of interactions with people with incorrigible behaviors and the frustration that comes with their ability to slither out of the messes they create and their lack of accountability for the damage they incur on those unfortunate enough to share time and space with them. Depictions of predators are rampant in tracks like “Boys Will Be Boys” or “Pull the Trigger,” where an antagonist commits violations on a victim’s space through physical assault and psychological torment through stalking and voyeurism. The former delivers a slowly building narrative depicting acts of violence upon innocence, with blame often falling on the victims and a society’s tendency to excuse the behavior of the predator. The latter, on the other hand, is faster paced, describing the creeping imagery of a stalker pursuing a victim through the lens of security tapes. Violent imagery ensues with depictions of spraying blood and exploding heads, and the listener is subject to an uncomfortable feeling as the story continues to narrate the predator’s depravity between following and kissing the victim. In addition, the song is preceded by a sound clip desperately crying “I won’t let anyone come between us anymore,” displaying a codependency that the preceding song “Empty Room” encapsulates from its inspiration in the 1982 film “Basket Case”.
There is a recurring motif of blame upon allowing too many chances (even if it is just one) with the wrong person in songs like “Come By Tonight” and “Impact”. Both songs refer to an antagonist that is seemingly harmless at first, with lyrics depicting games and invitations in “Come By Tonight” that lead to the antagonist taking control and hiding their maliciousness to mislead investigations into their character. The song itself uses dual vocals and chorus structures in an infectious way, allowing for parts of the vocal melodies to sing concurrently in the last few iterations. “Impact,” on the other hand, begins with a sound byte of a dialogue arguing about a serial killer who dresses in movie monster outfits being described as a victim of society. The lyrics paint a picture of an antagonist that is seeking meaning and placement through the use of borrowed characteristics, a reference not only to the movie “Fade To Black” where a cinephile goes on a killing spree while dressed as classic movie characters, but to the way people behave in destructive ways with the excuse of seeking purpose. This theme of allowing chances is crucial to highlight, as this is often linked with the blame that falls on those affected by problematic behavior.
The songs are held together with incredible dual vocals, intense drumming, intricate instrumentation, and strategic arrangements to deliver a variety of moods that keep the album dynamic with song structures that fit different levels of energy. With the exception of the final conclusive “Drag”, the songs are fairly short, with no other song breaking the three-minute mark. The album starts with “River’s Edge,” which is barely over a minute long, but manages to fit two verses, two choruses, a guitar solo, and a sound byte from the film of the same name depicting a group of teenagers handling the disposal of a girl’s body following her murder. These songs are perfect for circle pits and high-energy shows, with the use of backing vocals and drum fills building up to the powerful choruses like “Inferno,” laden with harmonies and underlicks. My favorite track is “Lay Beside Her,” which has an incredibly infectious vocal melody in the chorus depicting a character surrounded by the dead rising and being consumed by dogs and spiders, a scene that fits perfectly in a horror punk album.
The album concludes with the nearly five-minute “Drag,” which is preceded by the softer “Let It Go” (which is not inspired by Frozen). “Let It Go” is entirely acoustic, declaring strength despite the constant reminders of the damage from past relationships before launching into the final song. “Drag” is written entirely from personal experiences, pulling from hardships in the lives of both Saffron’s and Violet’s lives, and pinpoints the concepts from the previous songs of antagonists that preyed on innocence, causing damage to the narrators with dishonest and manipulative behavior. Suddenly, the themes in “Come By Tonight” and “Impact” are not merely film homages, but a parallel to manipulations occurring in reality. The topic of besmirchment from “Wicked Plans” is revisited in the second verse, and the weight of “Vindication” is felt as the listener should know by now that the album is about regaining the strength to overcome a chain reaction of damage. The bridge describes the sequence of toxic behavior, from cheating, lying, manipulating, empty promises, and eventual gaslighting that dragged the narrators so far underground (“River’s Edge”), and the entire story of “Vindication” is about fighting their way back up to the surface and being free.
“Vindication” is a true example of a horror punk album, chock full of film references and dialogue that will delight all horror film fanatics. Won’t Stay Dead is able to incorporate into their songs the kind of tension and fear that comes with watching these films, as they are parallel to the emotions induced by the horrors that exist in our world. The album contains an overall story, starting with a burial and ending with the freedom from the things that drag us down, and coming to terms with the harm caused by others. In a world where danger lurks in every space we try to find solace, we need to be reminded of the ways we handle our surroundings to interact with our mental health and how to find the strength to live with our traumas. As Tim Robinson once said, “gospel’s not selling, give me something spooky,” to which we are graced with “Vindication”, with a full 13/13 rating.
Written by Christian Ang
