With Pink Moon, the second installment of Silverstein’s ambitious new album series, the Canadian post-hardcore stalwarts take bold steps in multiple sonic directions. The result is a record that often shines in its moments of vulnerability and experimentation, yet occasionally falters under the weight of uneven execution. Where their previous album balanced sharp hooks with emotional resonance, Pink Moon leans heavily into creative risk-taking, oscillating between stripped-down minimalism, cinematic intensity, and bursts of post-hardcore heaviness.
The album opens with “I Love You But I Have To Let You Go,” a soft, piano-driven track that immediately showcases Silverstein’s gift for emotional intimacy. Shane Told’s vocals are raw and sincere, carrying the vulnerability of the band’s classic ballads, while subtle instrumental swells hint at a cinematic depth. It’s a restrained, heartfelt start, setting expectations for a record with emotional weight and narrative ambition.
From there, the album’s experimental tendencies begin to emerge—and occasionally stumble. “Negative Space” introduces metalcore-inspired riffing that nods to contemporaries like Underoath, yet despite its aggressive intentions, the track lands with an unexpected hollowness. The breakdown aims to be crushing, but the space in the mix, combined with a slightly sterile production, prevents it from hitting with the visceral force Silverstein fans might anticipate. The chorus is memorable, but the track feels like a half-realized idea rather than a fully cohesive statement.
“Drain the Blood” (featuring Dayseeker) continues this push-pull between heaviness and minimalist arrangement. The bass takes center stage, and the breakdown hits harder than previous tracks, yet the ultra-clean production again works against the song, stripping it of grit and urgency. In contrast, “The Fatalist” embraces grand, arena-ready rock energy, allowing the band to feel more cohesive and in control, though the frequent reliance on stripped-down verses—moments with just drums or guitars—interrupts the momentum and prevents the record from sustaining immersion consistently.
The middle of Pink Moon is where experimentation becomes most apparent, yet predictability creeps in. “Widowmaker” features strong basslines and massive drums, but the same stripped-down formula used throughout the album makes its structure feel familiar and easy to anticipate. Silverstein’s desire to play with song dynamics occasionally blunts the tension rather than heightening it. Fortunately, “Autopilot” (featuring Cassadee Pope) offers a much-needed spark. Nostalgic emo/post-hardcore hooks intertwine with Pope’s harmonies, and the tight instrumentation creates one of the album’s most compelling moments—a reminder of Silverstein’s ability to excel when every element locks in together.
As the record approaches its final stretch, the experimental tendencies sometimes overstay their welcome. “Death Hold” redeems itself with a massive, fully realized chorus showcasing Shane Told’s vocal control, while “Dying Game” takes a subtler, haunting approach. Soft guitars and ethereal female vocals craft an atmosphere of melancholy that feels fresh and genuine—a rare moment where Silverstein’s experimentation truly resonates.
Pink Moon is an ambitious effort. Silverstein stretches their sound across cinematic piano ballads, stripped-down verses, metalcore aggression, and atmospheric melancholy. Yet the over-polished production and repetitive minimalist approach leave several tracks feeling flat. When the band leans into collaboration (Autopilot), raw vulnerability (I Love You But I Have To Let You Go), or atmospheric depth (Dying Game), they strike gold. Outside of these moments, the album sometimes feels like a band in search of its identity rather than one confidently asserting it.
Ultimately, Pink Moon is a mixed chapter in Silverstein’s larger narrative: bold, experimental, and occasionally brilliant, but uneven in execution. It’s a record that rewards attentive listening, revealing flashes of the band’s creativity and emotional range—even if it doesn’t always cohere into a fully realized whole.
NOTABLE TRACKS:
I Love You But I Have To Let You Go
Death Hold
Dying Game