Artist

Ice Nine Kills

Boston, United States • Formed 2002

Ice Nine Kills is a music group from Boston, United States, active since 2002. Their discography on Gatefold includes 14 records.

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Albums tracked

In collections

2002

Since

Biography

Ice Nine Kills is an post-hardcore/metalcore band from Boston, Massachusetts. The band is currently signed to Fearless Records and is known for its horror-themed lyrics and theatrical style. It was originally formed in 2000 by high school friends Spencer Charnas and Jeremy Schwartz. Charnas remains the only founding member still active in the band. Ice Nine Kills has released three extended plays and six full-length studio albums. These include "Last Chance to Make Amends," "Safe Is Just a Shadow," and "The Predator Becomes the Prey.

The Arc of Ice Nine Kills

The pivots — what forced Ice Nine Kills to reinvent.

The Post-Ska Identity Crisis
Back in '06, the band was still shaking off the brass-heavy remnants of their high school ska days while trying to survive the New England emo boom. The Last Word EP caught them in no-man's-land, where the songwriting was there but the production couldn't decide between pop-punk bounce and metalcore bite. You can hear a band desperate to find a hook, struggling with a sound that hadn't quite committed to the heaviness that would eventually pay the bills.
The Safe Is Just a Shadow Shift
Everything changed when they tightened up the dual-vocal attack and moved toward a more aggressive, breakdown-heavy structure. This era was defined by the arrival of Justin deBlieck, who brought a technicality to the lead guitar parts that the band lacked during their formative years. It was the moment they stopped sounding like a local garage act and started sounding like a touring machine ready to compete with the big names on the Fearless Records roster.
The Cinematic Pivot
The Silver Scream changed the math because they stopped writing about their feelings and started writing about movies. By fully embracing the horror concept, they allowed the production to get absurdly dense—incorporating orchestral swells, sound effects, and musical theater transitions. It turned the live show into a Broadway slasher flick, a move that forced the songwriting to become more disciplined despite the over-the-top subject matter.

Influences

Panic! At The Disco — Charnas has explicitly cited A Fever You Can't Sweat Out as a blueprint for blending high-concept theatricality with aggressive hooks. You hear it in the vaudevillian piano breaks and the rapid-fire, wordy delivery of their bridge sections. It’s the DNA of the 'theater kid' energy that separates them from the rest of the metalcore pack.
Goldfinger — Before the breakdowns, they were a ska-punk band, and they’ve documented their debt to John Feldmann by having him produce several of their biggest records. The fast-paced, melodic urgency of those 90s skate-punk records is the foundation under all the distorted guitars. They even brought in Reel Big Fish members for sessions to pay homage to those roots.
Danny Elfman — The band’s cinematic era relies heavily on the gothic, minor-key orchestral flourishes that Elfman perfected in his Tim Burton scores. You can hear it in the way they structure their intros and the use of 'spooky' chromaticism in their synth patches. It’s not just a vibe; it’s a literal attempt to make metalcore sound like a film score.
Thursday — The early Massachusetts scene was heavily influenced by the post-hardcore template Geoff Rickly and company built in Jersey. The emotive, straining vocal style on the early EPs like The Pop-Punk-Ska Years was a direct reflection of that 'Full Collapse' era sound. Even as they got heavier, that desperate vocal delivery remained part of their core identity.
Alice Cooper — The decision to turn the live show into a prop-heavy horror spectacle is a direct lift from the grandfather of shock rock. They’ve shared stages and referenced his 'theatricality-first' approach in dozens of interviews regarding their stage craft. It’s about the show being a capital-E Event rather than just four guys standing in front of amps.