Twenty-five years into their career, it would be easy for Silverstein to just get by on nostalgia. Instead, they’re writing some of the most ambitious music of their lives. Pink Moon, the second chapter of the band’s 16-song double album, conceived in Joshua Tree (move over, U2), finds the Canadian post-hardcore veterans pushing their music into bold new directions while keeping one foot firmly planted in the hard-rocking sound that built their legacy. The first half, Antibloom, was real, raw, and expansive. Pink Moon takes that further by adding a cinematic and brooding quality, with enough of a through-line of cohesion that makes it an album that you can listen to on its own or alongside Antibloom.
The record starts out with a sonic left turn. “I Love You But I Have to Let You Go” is a big emotional synth-laden ’80s ballad. Think a modern take on the ’80s heights of Peter Cetera or Bryan Adams. It’s probably not what listeners would expect from Silverstein, but that seems to be the point. The sonic shift signals that the band isn’t afraid to expand its palette. Then comes “Negative Space,” the sort of signature Silverstein barnburner that kicks down the door with a riff that could level a venue. Frontman Shane Told sounds in top form on the track, carrying it to a full-on anthemic chorus that captures both rage and catharsis.
“Drain the Blood” stood out to me right away. Anchored by Billy Hamilton’s driving bassline and a big screamo chorus, it makes sense why it was chosen to be a single. The track gets elevated thanks to an appearance from Dayseeker’s Rory Rodriguez, whose feature adds a complementary flavour without taking away from Silverstein’s core. Lyrically, the song’s metaphorical stab at AI’s encroachment on music and wanting to keep things real feels timely and defiant, delivered with urgency.
Elsewhere on the album, the band continues to flex their versatility. “The Fatalist” packs so much hard-driving rock swagger, while “Widowmaker” is a throwback to early Silverstein, complete with one of the record’s strongest choruses. “Autopilot,” which features pop-punk/country singer Cassadee Pope, is one of the most pop-forward tracks on Pink Moon, but it doesn’t sound out of place on the record; rather, it provides a fresh breather or reprieve from some of the harder songs.
The album closes out strong with two of its strongest tracks. “Death Hold” is an irresistibly catchy, pop-tinged post-hardcore cut that manages to be both slick and jagged. The sort of sound that sounds so radio-ready without compromising on what makes the band great. Closer “Dying Game” takes us another musical time warp, this time to the 90s. The pairing of alt-rock guitars with wistful acoustic textures wraps things up on a sombre and bittersweet note.
What makes Pink Moon so great is its sequencing and listening experience. The singles are fantastic, but the album cuts also reveal the band’s instincts for pacing and dynamics, crafting a project that rewards full listens rather than cherry-picking tracks for playlists. The guest collabs are smart and well-used, pushing the songs further without distracting from the band’s core identity or the cohesion of the album.
The bad boys from Burlington (just a hop, skip and a jump away from Toronto) could have easily leaned on their history during their 25th anniversary year, playing the hits and treating the year as a victory lap. But hey, where’s the fun in that? Pink Moon doesn’t just extend their story; it proves that Silverstein is just as vital and fearless as they were when they dropped their debut full-length album, When Broken Is Easily Fixed, in 2003.
Pink Moon is available everywhere you listen to music.
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