We either turn away from the unknown or rush into its embrace.

Motionless In White are at home in the dark. For twenty-plus years now, the Platinum-certified Scranton, PA quintet—Chris Motionless [vocals], Ricky Olson [guitar], Ryan Sitkowski [guitar], Vinny Mauro [drums], and Justin Morrow [bass]—have resided in their own shadowy corner of alternative music and culture. The group’s uncanny alchemy of metal, hardcore, goth, industrial, and electronic has magnetically attracted an ardent audience, fueling a quiet rise out of the Rust Belt and into arenas as a headlining force of nature. Their D.I.Y. work ethic drives the evolution of an immersive world where stunning visuals match the scope of the sound. The collective come full circle on their seventh full-length offering, Decades [Roadrunner Records]. For as much as it conjures their signature style, the LP sees them continue to confidently cut a path through uncharted territory, spreading a little darkness in their wake…

“We were never afraid to take risks,” observes Chris. “This band has not only lasted two decades, but we’ve also outlasted all of the obstacles we’ve faced. We’re still grinding. No matter how far we expand the universe that is Motionless In White, we’re going to preserve the heart, soul, and roots of where we came from. We are never going to abandon heartfelt, emotional, and heavy songs. We are never going to abandon what mattered to us the most when we started. We’re finding new ways to emphasize those stories with exciting sounds and looks, but the vision is the same. It’s always been this grand, dramatic, and theatrical entity. I’m proud we haven’t gotten comfortable.”

Chris and Co. took their time to perfect Decades. They recorded in Upstate New York and Los Angeles with co-producers Drew Fulk and Justin “JD” deBlieck. During the sessions, they incorporated elements of the past, present, and future. “When we’re in the studio, we try to do things we’ve never done,” he notes. “Decades is definitely heavier than some of our past albums. Our current world bred more aggressive energy, anger, and resistance.”

Motionless In White heralded this chapter with “Afraid of the Dark.” It instantly resonated with fans, amassing tens of millions of streams and inciting critical applause. Revolver marveled at how it “coalesces the eras with jauntily arpeggiating synth-phonics, blisteringly fast metalcore verses, a blegh-heavy breakdown, and an earnestly-sung, chest-thumping chorus.”

However, they blow the doors open with the single “Playing God” [feat. Corey Taylor of Slipknot]. Schizophrenic synth transmissions slip into the undertow of punishing double-bass and a crushing guitar groove. Chris and Corey trade vitriolic verses back-and-forth until a squealing harmonic signals an oncoming storm, “So fuck you to falsify truth to fabricate views ‘cause without ‘em your nothing…I will never bow down to a platform of puppets playing god.”

“I can’t believe how vicious Corey sounds,” he grins. “It’s an observational commentary on toxic internet culture and the people who perpetuate it. The internet has gotten worse to the point where only negativity, hatred, and lies are at the forefront of everything you see. It’s very frustrating because I thought social media was supposed to be a mechanism to connect, but all it does is divide.”

Elsewhere, “R.I.P.” [feat. Skylar Grey] evokes the power of a lover’s lament inscribed on a headstone. Piano twinkles through the haze of funereal synths, and Skylar proclaims, “I’d never sleep without you buried next to me. I would die, but I’d never rest in peace.” Chris’s vocals bleed raw emotion, and their voices entwine on an epic chorus boosted by soaring harmonies.

“Skylar brought it to another level,” he elaborates. “I challenged myself to be more specific in the lyrics. Even though the song is written through a romantic lens, it could be applied to anytime you’ve fallen out with a person you care about—a best friend, family member, or romantic partner. You say hurtful things, and you don’t necessarily mean them. In the middle of this, there’s a confused, frantic, and silent moment. You just want to apologize and make it right, but you don’t know how due to the conflicted feelings. You’re not sure if things are going to be dead and gone forever, or if you can turn it around.”

Elsewhere, the band host the ultimate gothic rave on “Count Back From Zero.” Unabashedly under the influence of cyberpunk, the synths pulsate, the beat thumps, and the vocals swing from a vampiric croon into a piercing falsetto. It climaxes on a drop tailormade for the dancefloor long after midnight.

“I wanted to have an entire section with a cyberpunk breakdown,” he reveals. “All of a sudden, the lights go off, the lasers go on, and the dancefloor lights up.”

Then, there’s “Blood Pact.” It leans into a hip-hop bounce before following a detuned chug towards a warning, “No turning back, it’s a motherfucking blood pact.”

“It was new territory sonically,” he adds. “Thematically, it’s about a kinship and relationship with this music and lifestyle. If you’re in it, you’re in it until death. This is the initiation.”

After 15 years of teasing “a secret cover we’ve wanted to do more than anything” in interviews, the band drop their rendition of Corey Hart’s eighties staple “Sunglasses At Night.” Rekindling the magic of the original, it serves as a fitting homage retrofitted with blasts of blistering distortion and spiked with a twist of Motionless In White.

“It was finally the right time,” he affirms. “I’d been talking about the cover for so long, but I never gaveaway the name. My approach was to modernize it a little bit and have fun.”

The title track “Decades” uncorks an uncompromising catharsis. Fueled by pummeling riffs and a bludgeoning rhythm, it acknowledges adversity, only to overcome with confessions like “I built a fortress from stones that were thrown at me.” With a scream, the frontman assures, “You will remember my name.”

“‘Decades’ and ‘Afraid of the Dark’ are the bookends,” he states. “The concept is similar for both. It emphasizes the story of Motionless In White and our fans. Mile after mile, we’ve dodged bullets every year. In a life full of opposition, we’ve continued to prevail.”

They’ve done so without compromising. Back in 2022, Scoring The End of the World debuted at #1 on the Billboard Top Hard Rock Albums Chart and vaulted to #12 on the Billboard 200. It yielded their second RIAA Gold-certified hit and first Active Rock #1, “Masterpiece,” which is closing in on Platinum status.

Meanwhile, they’ve collaborated with everyone from Jonathan Davis of Korn and DOOM composer Mick Gordon to Illenium and Knocked Loose. Between canvasing the globe on tour, they notably founded their own Apocalypse Fest in Scranton.

Ultimately, Motionless In White have made the kind of record that could inspire you to make the change you’d been waiting on. “If you listen to this, I hope you’re inspired to approach whatever you’re afraid of in your life,” he leaves off. “All I can say is, ‘Bet on yourself, run headfirst into the dark, and something good will happen’.”