You didn’t think that was the end, did you? Roaring back to life once more, ‘American Noir’ is a fitting epilogue to the story of Roe and Annabelle that began in ‘Sex, Death & The Infinite Void’. Built from the bones of discarded songs from that record it may be, but don’t let that put you off. This is one special EP.
From the ominous overtones of the opening moments onwards, those religious subtexts have never been more in your face as talk of resurrections and returns come to the front. Leaning heavily into the classic rock sounds of the 1970’s, you almost half-expect the roar of a motorbike in the background of the piano intro to ‘Midnight’. It’s wonderfully and fantastically overblown throughout, a highly theatrical re-entry to the world of Calvary Falls, with choruses that could wake the dead.
To think that some of these songs nearly didn’t come back to life? What a sin that would have been for real. The vocal interplay between Hannah Hermione and Will Gould is exquisite, making for an ending of epic proportions. Cinematic, full of texture, the attention to detail and sense of scale is magnificent. It feels timeless and yet also perfectly at one with what Creeper are as artists. It might be a cliche to say you should always leave an audience wanting more, but that’s never been truer than here. It’s so delicious, and so exciting, that a band like this exist right now with their ambition, and sense of scale and ‘event’. Cherish them while we have them, because that final ending will be a bitter one.