A Killer’s Confession Saves the Best for “Last Chance” Video
The latest release from A Killer’s Confession, “Last Chance”, is a curious study in opposition. After all, the band has the unenviable task of vibing, recording, and filming material as a group during an epoch in which people are told to stay away from one another (whether or not they actually heed such advice).
As such, it was forced to film the video for the number separately, with no member appearing in one another’s shots. There’s some artful fading in and out of the various members banging on their instruments—and front man Waylon Reavis working things out in the vocal booth—which largely works due to the black and white aesthetic evinced on each members’ personal filming device. But for the most part, the clip is a study of a group of individuals, if such a thing be possible.
The dichotomy characterizing this oeuvre, however, encompasses both music and lyrics, instrumentalism and vocals. Reavis runs through at least three different voices and singing styles, from the pure, almost pristine singing on the verses (with just a touch of a British accent) to outright screaming about his last chance on the hook. Interestingly enough, these two antipodes fade in and out of each other at times, much like the shots of the individual members performing.
Thus, during the verses there’s a markedly calm period characterized by electronic drums and almost mawkish synths vibrating chords. There may be a bar or two of rising action in which the tension builds, but before long the track springs into the full-fledged beating of drummer Morgan Bauer, while bassist JP Cross and guitarists Thomas Church and Brock Starr shred the tune into pent up metal frustration.
Naturally, it’s at this point Reavis’ screaming reaches a fever pitch, his eyes going wild, voice resonating in time to the chaos underpinning it. The distinction between the different parts in this number are as stark as those in music in general are, swiftly going from pianissimo to kicking speakers over in bedlam.
Best of all, these contrasts work well, letting you actually feel the sincerity of the lyricist as he pores over his last chance. For what, exactly, may be better off left undefined as the world careens forward in these uncertain days and dark nights.