Decades Album Review: Motionless In White Go Full Cyber-Goth (Again)

Decades album turns Motionless In White into a nightclub metalcore machine—catchy, techy, and weirdly emotional when it wants to be.

The Hook: This Record Isn’t Subtle, and That’s the Point

Some albums want you to “go on a journey.” Decades wants to grab you by the collar, shove you under strobe lights, and dare you to flinch.

The Long Wait Feels Like a Deliberate Flex

It’s been four years since Motionless In White last dropped an album, and Decades wears that gap like a tailored coat. You can hear the intention: this isn’t a band dumping leftovers. It plays like they sat on ideas until they found the versions that hit hardest—like they were trying to “write the coolest record” and then actually committed to the bit.

I’ll admit, my first assumption was that the hype would outpace the songs. On the first run through, I kept waiting for the moment where the polish turns into emptiness. It didn’t happen as quickly as I expected.

The Title Track Opens Like a Mission Statement

The opener, “Decades,” doesn’t waste time explaining itself. It just drops the band’s familiar blend—metalcore muscle, electronic rock gloss, industrial grime—and lets it throb in place like it owns the room. Chris Motionless’ vocals arrive oversized on purpose: the clean lines feel carved and theatrical, and the screams land like they’re supposed to be quoted back at him.

This song isn’t here to surprise you. It’s here to remind you what the whole brand is: big hooks, hard edges, and a little bit of controlled melodrama. And honestly? That confidence works. If you’re allergic to catchy metalcore, you’ll bounce off immediately. If you like your heaviness with a pulse you can dance to, you’re already in.

“log_in//crash_out” Swaps Guitars for Neon and Glass

The transition into “log_in//crash_out” tightens the concept. It leans harder into the electronic side—futuristic tones, that cold tech shimmer, the kind of sound design that makes you picture a dark cyberpunk alley even if you’ve never watched a second of sci-fi in your life.

And yes, the record starts throwing out those solid, genre-certified “bleghs” basically right away. Two tracks in and they’re already stamping the floor like, “Relax. We know why you’re here.” It’s fan service, sure—but it’s also a little bit of branding, like a signature scribbled on the wall.

One thing I’m not totally sure about: the tech aesthetic is so bold it almost risks turning into set dressing. Sometimes I couldn’t tell if the electronics were driving the songs or just decorating them. But when it clicks, it clicks hard.

The Real Trick: This Album Treats Genre Like a Costume Rack

Here’s the thing Motionless In White has kept consistent: they don’t just “add influence.” They try on genres like outfits—sometimes elegantly, sometimes like they’re changing in the back seat of a moving car. Decades bounces between moods and themes like it’s refusing to sit still long enough to be pinned down.

That choice will either feel exciting or exhausting depending on your tolerance for whiplash. I think it’s mostly the point: the album wants to feel like a whole nightlife district, not one single room.

“Love At First Bite” Commits to the Bit (Fangs and All)

“Love At First Bite” is where the album shows its teeth—literally. It plays like a vampiric love story, complete with an organ part that leans into the gothic theater of it all. And yes, it drops cheesy puns—the kind that make you groan even as you remember them later. There’s a line that’s basically “I’m a sucker for a good time,” and it’s ridiculous in the way a horror-themed cocktail menu is ridiculous.

Mild criticism: the pun-heavy moment is a little too pleased with itself. It flirts with turning the whole track into a novelty. But the band doesn’t fully fall into the trap—they keep the track sturdy enough that the theatrics feel intentional instead of desperate.

When the Album Hits the Club, It Doesn’t Ask Permission

Then you get pulled into a darker, sweatier space with “Blood Rave” and “All That I’ve Ever Known.” This is where Decades starts acting like it’s built for bodies in motion. The grooves bounce. The edges glow. The vibe says nightclub, but the guitars still bite.

My arguable take: these “club” tracks are where Motionless In White sound most natural, not because they’re abandoning metalcore, but because they’re leaning into rhythm as the main weapon. When the band chases atmosphere, they can sometimes overdo the aesthetics. When they chase movement, they feel locked-in.

The Dubstep Breakdown Is a Choice, and It Mostly Works

“All That I’ve Ever Known” goes a step further and drops a dubstep breakdown. The first time I heard it, I rolled my eyes a little—like, “Okay, we’re doing this now.” But on second listen, it landed better than I expected, mainly because the band doesn’t treat it like a gimmick. It’s placed like a structural pivot, a sudden floor-drop that resets your nervous system.

A reasonable listener could argue it’s a dated move. I get that. But inside this record’s cyber-industrial framing, it plays less like trend-chasing and more like the sound of the room collapsing and reassembling around you.

The 80s Cover Isn’t Nostalgia—It’s Assimilation

Some covers feel like tribute. The cover of Corey Hart’s “Sunglasses At Night” feels more like assimilation. Motionless In White don’t politely borrow the song; they drag it into their world and wire it up with extra voltage. It even nods to another 80s staple by pulling in elements of Eurythmics’ “Sweet Dreams (Are Made Of This)”—which is either an inspired mashup move or a bold act of musical shoplifting, depending on your mood.

Either way, it fits the album’s vibe: synthetic, dramatic, slightly menacing, and designed to stick in your head longer than you’d like to admit.

The Features: Two Big Swings That Tell You What the Album Wants

The features on Decades aren’t random cameos. They’re used like spotlights—each one aimed at a different part of the band’s identity.

“Playing God” (feat. Corey Taylor) Turns into a Controlled Riot

“Playing God” with Corey Taylor sounds like the kind of collaboration people joke about for years and then instantly recognize when it finally exists. The energy hits like a hybrid: the aggression feels nastier, the presence feels bigger, and the whole thing comes off like what would happen if Slipknot and Motionless In White somehow produced a “baby” that grew up to be a problem in the best way.

Arguable statement: this track isn’t subtle enough to be “deep,” but it doesn’t need to be. It’s designed to be played loud and to make you feel briefly invincible. Mission accomplished.

“R.I.P.” (feat. Skylar Grey) Goes Vulnerable Without Turning Soft

Then “R.I.P.” featuring Skylar Grey pulls the album into a different emotional temperature. It’s framed like a metalcore ballad of grief, and it doesn’t treat grief like a poetic metaphor—it treats it like a physical weight. Skylar Grey’s presence elevates that vulnerability instead of sanding down the heaviness. The contrast matters: her voice doesn’t “sweeten” the track so much as sharpen the ache.

I’m not entirely sure everyone who came for the stomps and the sneer will want to sit with this one. But that’s exactly why it works. The album benefits from a moment that isn’t trying to be cool—because it accidentally becomes cooler that way.

So What’s Decades Actually Doing? It’s Building a World, Not a Setlist

The album’s signature move is how it jumps between themes—vampire romance one minute, cyberpunk dread the next, then a club sequence, then a grief-struck ballad. That could easily become a messy playlist. But Decades keeps returning to the same core identity: industrial texture, big choruses, and that mix of harsh and glossy that Motionless In White have basically trademarked.

Still, the record does occasionally flirt with overkill. Sometimes the production choices feel like they’re trying to outshine the song itself. I don’t think it breaks the album, but there are moments where I wanted just a little less costume jewelry and a little more exposed nerve.

Album Art

Release Note (Because It Matters Contextually)

Decades is out now via Roadrunner Records.

Conclusion: A Big, Flashy Record That Still Knows Where to Hurt

Decades album isn’t trying to be a tidy statement. It’s trying to be a loud, neon-lit environment you step into. The strongest moments come when Motionless In White stop worrying about proving they’re heavy or cool and simply let the songs swing—whether that swing is a punny vampire romp, a cybernetic stomp, or a grief-heavy ballad that doesn’t blink.

Our verdict: People who like metalcore with industrial sheen, nightclub momentum, and unapologetically dramatic hooks will have a great time here. If you need albums to “pick one vibe and stay there,” this will feel like getting dragged through five rooms at the same party—fun for some, annoying for the person who just wanted to stand near the snacks.

FAQ

• Is the Decades album more metalcore or more electronic?
  It’s metalcore at the core, but the electronic/industrial layer isn’t optional decoration—it’s baked into the way the songs move.
• Does “log_in//crash_out” really lean into a cyberpunk sound?
  Yes. The synth choices and techy textures push it into that dark-futuristic lane pretty aggressively.
• Are the “bleghs” actually frequent on this record?
  They show up early and set expectations. If that’s your thing, you won’t feel starved.
• Which tracks show the album’s range the clearest?
  “Love At First Bite” for theatrical theme-building, “All That I’ve Ever Known” for club-heavy experimentation, and “R.I.P.” for emotional weight.
• Will fans of big-feature collaborations care about the guest spots?
  Probably, because the features aren’t tacked on—they’re used to amplify specific moods (violent swagger on “Playing God,” vulnerable grief on “R.I.P.”).

If this album’s visuals and mood stuck with you, a poster-grade album cover print is a nice way to keep that energy on the wall—browse options at https://www.architeg-prints.com.