Though it’ll never completely disappear, it does feel like the ‘satanic panic’ that used to surround alternative music is becoming less and less relevant as time’s gone on: despite some minor protestations, events like Gojira’s performances at the Paris Olympics give unconventional bands the spotlight, and that can only be a good thing. On its face, English rock outfit Creeper’s ghoulish aesthetic might’ve risked neutering their mainstream appeal— hell, the group describe themselves not as a band, but as a cult. Looking closer at their particular brand of 80s revivalism though, it feels safe to put down the pitchforks. New album ‘Sanguivore II: Mistress of Death’ can be a little rough around the edges, but you should invite this vampire in regardless.

Say what you want about Gould and company, but they certainly aren’t afraid of some theatrics. The group shroud their songwriting under layers of camp and darkness, not unlike an amateur production of Phantom of the Opera— that vampiric style extends past mere outfits, seeping into every corner of ‘Mistress of Death.’ Creeper’s obsession with the macabre is a fun twist on an otherwise fairly by-the-numbers formula, and has undoubtedly helped them stand out in an oversaturated market: still, the pseudo-prophetic ramblings of ‘A Shadow Stirs’ are a touch hammy, even by their standards. If the band see an opportunity to up the ante, they always seem to take it, filling their latest album with all the choral blasts and dramatic synth lines of your average Stranger Things episode. These elements fit well against the booming drum production and flamboyant performances on offer, as this style of 80s rock tends to have an eye for the theatrical— left bare though, elements like Gould’s rumbling baritone vocals, as well as the flowery language he tends to employ, do take a turn for the ridiculous.

All that is to say, Creeper are always at their best when drawing on their influences from good ol’ rock’n’roll. The opening leg of ‘Mistress of Death’ is undoubtedly its strongest, jumping headfirst into nothing but catchy choruses and strong songwriting: really, isn’t that why we’re here in the first place? The title track does a great job showing off how the marriage of bouncy playing and dark aesthetics can pay off, offering up several delightfully memorable hooks in between its skulking verses. Gould and company have no interest in reinventing the wheel, but neither was anyone asking them to— the strong guitar work and hilariously overblown key changes of ‘Blood Magick (It’s a Ritual)’ will have your next Halloween party dancing like a monster mash. In many ways, ‘Mistress of Death’ starts to feel like a love letter to the campy rock music that inspires Creeper, with the band going out of their way to pay homage to a number of eras. Single ‘Headstones’ continues to be an absolute heart stopper, racing through its fantastic choruses as it does: the Meatloaf-esque hooks on ‘Prey For The Night’ may be a departure in style, but certainly not in fun.

Perhaps our ‘amateur dramatics’ comparison was more apt than we thought though: Creeper absolutely have the spirit, but the fine details can escape them in places. Certain instances, such as the rhyming of ‘stones’ with ‘stone’ in the chorus of ‘Headstones,’ are easily overlooked— really, that song is so infectious that its lyrics could seldom tear it apart. Elsewhere though, ‘Mistress of Death’ can feel a little uneven. The clean guitars of ‘The Black House’ are a fantastic choice to break up the record’s pacing, but there’s an uncomfortable aspect to the track’s vocal harmonies that really puts our teeth of edge: it speaks volumes that the cut’s final chorus, in which Gould abandons his usual lead melody, comes as such as relief. ‘Razor Wire’ is another peculiar one to evaluate, as the song feels completely buried by obvious comparisons to Alannah Myles’ ‘Black Velvet.’ It can be hard to believe that the band who put dramatic romp ‘Parasite’ together also managed to pen such underwhelming inclusions as ‘Daydreaming In The Dark’ and ‘The Crimson Blade’— at least all is well in the end, delivering with the sheer sentimental cheesiness of ‘Pavor Nocturnus.’

The simple fact of the matter is that ‘Sanguivore II: Mistress of Death’ is a deeply unsettled record, caught in the fangs of ambition. The band attempt a massive range of styles here, and do their utmost to take each one under their ghoulish wing— the results may be mixed, but we just cannot shake how much fun it is to bounce around with Creeper. Between the bombast and the bloat, the memorable hooks and tasteful performances of ‘Headstones,’ ‘Prey For The Night’ and ‘Parasite’ are shining examples of rock revivalism done right: it’s a close call, but ‘Mistress of Death’ did just about sink its claws into us.