Motionless In White - Scoring The End Of The World
- FaceOff - עימות חזיתי
- Jun 10
- 4 min read
Are you ready for the end of the world??????
On June 10, 2022, "Motionless In White" released their sixth studio album, "Scoring The End Of The World".
At the time, "Motionless In White" stood at a pivotal point in their evolution. Having built their name over a decade through a volatile blend of industrial metal, gothic theatrics, and metalcore ferocity, the band entered the 2020s with a sharpened identity and a loyal, ever-growing fanbase.
Their previous album, "Disguise" (2019), had opened new doors stylistically but received mixed reactions—some missed the chaos, others welcomed the melody.
As the pandemic swept across the world in 2020, the band, like everyone else, was forced into pause, reflection, and eventually, reinvention.
The recording of "Scoring The End Of The World" began under the shadow of global uncertainty. Writing and production stretched from May 2020 through February 2022, with sessions shifting between studios in Los Angeles and Pennsylvania. Vocalist Chris Motionless steered lyrical themes—covering personal turmoil and global unrest—while guitarist Ricky "Horror" Olson and bassist Justin Morrow laid down the musical foundation, assisted by producers Drew Fulk and Justin DeBlieck.
Late in the process, Mick Gordon of "DOOM" fame joined to program and add instrumentation to the title track. The band's YouTube series, “THE MAKING OF SCORING THE END OF THE WORLD”, provides a rare, candid peek into this fragmented creative process: from isolated vocal takes across Zoom and late-night writing sessions to moments of camaraderie in tracking breakdowns and layering synth textures. The highs and lows on camera mirror the album’s emotional arc.
The album was built piece by piece across various studios, with remote collaboration playing a key role, something the band admitted was challenging but ultimately rewarding. That fragmented creation process is perhaps what gives the album its layered, diverse tone.
The chaos begins with "Meltdown", a ferocious opener that bursts out like a warning siren. The synths ripple like static electricity while Chris unleashes pure fury. It sets the tone: heavy, urgent, and unfiltered.
"Sign of Life" follows with more melody but no less weight. Its anthemic chorus and introspective lyrics offer a cry for purpose in a world turned gray. There's desperation here, but also defiance.
And then comes "Werewolf", the wild card that caught everyone off guard. It's a gothic dance-floor stomper, complete with 80s horror-flick synths and swagger straight out of a retro vampire club. It shouldn't work, but it absolutely does.
"Porcelain" peels back the aggression, replacing it with vulnerability. The string arrangements and clean vocals create a fragile beauty, exposing emotional wounds beneath the sonic armor.
But the softness is temporary—"Slaughterhouse", featuring Bryan Garris of Knocked Loose, comes swinging. It's one of the most punishing tracks MIW has ever released, fusing hardcore breakdowns with venomous lyrics aimed at corruption and disinformation.
"Masterpiece" steps in next, and it's perhaps the most emotionally resonant track on the album. It speaks to regret, legacy, and the desperate need to leave something meaningful behind. A slow-burning power ballad with crossover appeal, it became one of the album’s standout hits.
"Cause of Death" and "Burned at Both Ends II" dive back into heavier territory. The former takes on themes of betrayal and societal breakdown, while the latter serves as a surprising emotional sequel—darker, tighter, and more desperate than the first.
Then comes the juggernaut: "Cyberhex". This was the first taste of the album, and it’s easy to see why. Combining industrial electronics with massive hooks, it encapsulates the album’s DNA—apocalyptic, cinematic, and wired into our collective dread and resilience. The band members said that choosing the song as the lead single to introduce the new album was unanimous—everyone agreed that this track clearly represents the band’s new era.
"Red, White & Boom", featuring Caleb Shomo of Beartooth, goes full chaos mode. Politically charged and dripping with sarcasm, it’s a tongue-in-cheek moshpit starter that feels like both a joke and a warning.
The title track, "Scoring The End Of The World", brings the curtain down with grandeur. Featuring Mick Gordon, it blends orchestral tension with industrial might, like the closing scene of a sci-fi war film. It’s haunting, powerful, and oddly hopeful—a fitting finale for an album born in crisis.
The album cover, designed by artist Crystal Johnson, captures the album’s bleak theatricality. A faceless figure in tattered black robes stands in stark white light, evoking images of rebirth, anonymity, and the shadow of collapse. It’s not just an aesthetic choice—it’s a visual metaphor for the themes inside: identity crisis, technological decay, and the beauty of transformation in darkness.
The album marks a high point in Motionless In White’s career. It debuted at #12 on the Billboard 200 and hit #1 on the Top Hard Rock Albums chart, proving that their bold experimentation paid off. The album celebrated its first anniversary in 2023 with praise still echoing across fan communities, many calling it their most cohesive and impactful release to date. It captured the chaos of a world in collapse and offered not just noise, but catharsis. This wasn’t just an album. It was a weapon.
Listen to the album on: Spotify, Apple Music
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