Queen of the Murder Scene (2018)

Queen of the Murder Scene is a conceptual rock epic from The Warning, a band from Monterrey, Mexico, whose members were just 18, 16 and 13 when this ambitious project came to life. Dany, Pau, and Ale Villarreal set out to create an intense horror concept record, exploring themes of obsession, inner darkness, and the price of succumbing to one’s darker desires. This concept is masterfully depicted on the album cover as well, with the Queen and her shadow displaying both the light and innocence of Queen and the fear and evil of the animalistic darkness within her. Their youth doesn’t detract from the maturity and skill on display here; rather, it fuels their unique vision, blending theatrical storytelling with powerful, dark instrumentation. This record isn't merely a collection of songs but a fully realized narrative journey—dark, raw, and wholly immersive—that showcases their musicianship and creative fearlessness, standing out as one of the rarest gems in modern rock.

The album opens with Dust to Dust acting as the prologue, setting a dark, haunting tone for the story ahead. With a busy, kicking bassline, this track pulls you in immediately. Pau’s vocals soar with power, embodying the themes of darkness, death, and the conflict between good and evil. The Spanish language bridge—apparently a preacher speaking of salvation—adds an eerie atmosphere, setting the stage for the tale of the Queen's twisted love and obsession. I’m not sure what the setting was that the girls had in mind, but I keep picturing this Sweeney Todd-esque type era as where this story unfolds.

Crimson Queen marks the first chapter, introducing the Queen and her intense love, portrayed in a delicate, ballad-adjacent style with acoustic warmth. Dany’s voice is rich here and it reaches unreal heights in the chorus, evoking an almost medieval-like sound that contrasts beautifully with the dark story’s intensity. She sings of the Queen’s fantasy, captivated by a love she doesn’t fully understand yet. Musically, the gentleness complements the Queen’s innocence and devotion, but her passion is clear, foreshadowing the turmoil ahead.

Ale’s driving bassline propels Ugh, paired with Dany’s killer guitar riffs and Pau’s dynamic fills. As the Queen’s obsession begins to grow, the lyrics express her struggle to control it: “Suppress the feelings / Bite them back” and “I don’t want to understand / I just want to hold your hand.” The top-notch production adds levels of depth, with the music building and creating tension, mirroring the Queen’s internal conflict as she tries to resist the darkness taking root inside her.

The One masterfully builds, with one of the record’s most infectious and powerful melodies. Dany’s voice brings an anthemic energy to lines like “I want to kill all the love that’s for you, so only mine remains.” The Queen’s desire and passion is turning violent, pushing her toward desperate lengths. The piano transitions after each chorus I feel are a direct call back to Elton John’s Funeral For A Friend. It is eerie, adding a sophisticated and haunting touch that audibly shows us the Queen descending into madness. The melody captures her dangerous need to be the only one in his heart—no matter the cost. “I will be the one.”

Stalker starts with a delicate yet eerie intro. This track transitions into a thumping rock number as the Queen, now fully consumed by obsession, traps her lover. She confesses her twisted love: “I’ll have you someday, I’ll have you forever.” The song builds and builds and climaxes in her definitive declaration, “and you are mine,” the moment her love escalates to murder. The band’s layered instrumentation intensifies the chilling atmosphere, making the listener feel the Queen’s obsessive grip as if firsthand. At this point in the record, you may find yourself hoping they’d turn this record into a short film or even a theatrical stage performance. I’d watch the hell out of it.

Red Hands Never Fade is a fast-paced, hard rock number that opens with sharp, punctuated strums, conveying the Queen’s remorse after taking her lover’s life. The band’s harmonies shine, adding an emotional weight to the lyrics: “tell me what I must do to atone for what I did to your soul.” The title symbolizes her guilt, the blood on her hands that will never fade. Musically, it carries this pop-punk energy at times, giving a sense of both urgency and regret, perfectly capturing her internal torment.

With a dynamic build and powerful harmonies, The Sacrifice sees the Queen wrestling with the darkness within her. The lyrics “don’t reject the darkness in your eyes” reveal the darkness trying to convince her to surrender. The music supports this allure, drawing you in and creating a feeling of inevitability as she contemplates sacrificing her innocence and embracing the evil that promises to absorb her guilt and pain.

Sinister Smiles begins the third chapter of this story. This track epitomizes the battle within the Queen between good and evil. Pau and Dany’s vocals intertwine, embodying the angel and devil on her shoulders. The evil threatens to “Cut through skin and stain the water” unless the good side breaks apart and lets evil take over. “Do what they say, or there will be hell to pay…” Dany’s guitar riffs bring a grungy, almost Seether-like darkness, while Pau’s powerful drum fills add a damning, theatrical element. “An innocent sinner, a guilty saint above all” captures the dichotomy of the Queen’s conflicted nature, her passion spilling over in an anthemic chorus that feels made for a live crowd.

With a superhero-esque rock sound, Dull Knives (Cut Better) feels like it could be one of Tony Stark’s anthems as he flies into battle. The Queen realizes the darkness has fully taken hold, and her only escape may be ending it all. “The rush that’s in my veins, I cant control it / Tell me why this voice that’s in my head is getting stronger?” The bridge offers the band a chance to REALLY jam out, highlighting their musicianship and unity as they bring the Queen’s turmoil to life.

Queen of the Murder Scene is the self-titled track that encapsulates all the album’s themes—grungy, dirty guitar riffs, dynamic drumming, and vivid storytelling. With dark alleyway music that feels like the climax of a play, the song progresses with an almost opera-like drama. Pau’s double kick pedal work drives the song as the evil in the Queen taunts her, demanding, “You don’t deserve the throne / The crown is mine.” Pau’s chants of “Korosu” (“Kill” in Japanese) underscore the Queen’s internal struggle as evil begins to overwhelm her completely.

P.S.Y.C.H.O.T.I.C. kicks off the final chapter, and adds a sliver of brightness after the darkness of QOTMS, with a sing-along energy that feels like a crowd favorite. The Queen has fully embraced her evil self, saying, “I know where I’m going / I know where I’ll go / I’ll sit on my throne.” no longer fighting her dark destiny. The Queen has accepted that this transformation will lead her down a path of continued horror. Also, the counting in the chorus reminds me a bit of the Nightmare on Elm Street nursery rhyme, thematically tying her journey to that of an iconic horror story.

Hunter is a high-energy rocker that portrays Death confronting the Queen, reminding her of her fate. At least, this is my interpretation. The chilling lyrics—“I’m breathing on your neck, I’m the chill down your spine”—are perfectly complemented by a bouncy, powerful riff. Death is demanding repayment for the lives the Queen has taken; his presence looming as he counts down her final moments. “I’m here to collect the payment that you’re running from the lives that you’ve spent.” Death is challenging the Queen, saying you think you’re me? You think you’re Death? No. Let me remind you who I am. “Fall onto me now / Your time is running out / When both of your feet fall under.” Death will come to collect, and bring you down. “I’m right at your door and I’m counting to three / Don’t need no permission to take you with me.” The music embodies this sense of an unstoppable force coming for her, with pounding rhythms and a driving intensity.

The End (Stars Always Seem to Fade) is a somber yet powerfully emotive closing. The Queen stares at the stars in her final moments. The song builds from a soft, introspective beginning to a climactic power ballad, bringing the album full circle as Pau echoes the opening lines from Dust to Dust “and we shall start again.” Her words in The End“start again, start again”—suggest the cyclical nature of evil. The Queen’s story may end, but the darkness remains, ready to begin anew, like an endless Uroboros cycle.

Queen of the Murder Scene is a record that begs to be owned and experienced in full. Its story-driven progression and the album’s thematic depth make each track feel essential to the whole, giving you a truly cinematic rock experience. The Warning’s artistry shines brightest in the album’s intricate narrative and explosive sound, elements that simply can't be fully appreciated by casually cherry picking certain tracks. Queen of the Murder Scene is not just music; it’s an unforgettable, multifaceted experience crafted by one of rock’s most exciting young bands.

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Highlight Songs:

  • Dust to Dust

  • Crimson Queen

  • The One

  • Sinister Smiles

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Own it, Stream it, Forget about it?

Having this record physically allows listeners to engage deeply with the story, explore its themes, and absorb the album’s intense and layered sound. So … own it. This is a record that demands to be part of any serious rock fan's collection. So let it be apart of yours.

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