Silverstein’s New Drop: ‘Pink Moon’ Album Review

Silverstein just released Pink Moon today, September 12th, 2025. This second half of a double LP, which was slated for this year, is a perfect follow-up to the prior Antibloom. Put together, these two LPs are a testament to the band’s passion and ability to keep evolving through 25 years of making music.

So, how did this double LP come to life? According to Silverstein’s personal site bio, the band went into the Fireside Sound in Joshua Tree, California, with 25 demos to be broken down into 16 singles. 2025 is the 25th anniversary of the band coming together, so they decided to break the album into two parts based on a suggestion by drummer Paul Koehler. This decision was made in order to celebrate their anniversary throughout the year.

Pink Moon brings a lot to the table. The melodies are captivating, the hooks are to die for, the instrumental breakdowns have tons of power and energy, the diverse use of vocals keeps each corner fresh, and the lyrics offer up some grit mixed with poetic wonder. This is all tied together with a crisp and clear production and mix. It’s high-octane, it’s exciting, and each track brings different sounds, influences, and energies to the table.

This album starts with the brief intro “I Love You But I Have to Let You Go.” It starts with a reverberated piano that begins with a bit of dissonance, then introduces vocals. It works its way into clarity, introducing bright, smooth vocals, then it introduces bass and percussion with a slow buildup. This intro is nothing short of ethereal, and it's cut in with the perfect contrast of the track “Negative Space.” It jumps between screamed lyrics and more melodic bits with a bit of a pop-punk twang. Before the outro of this track, there’s an instrumental breakdown with a punchy aggression that leads into a repetition of the chorus.

Then, the track “Drain the Blood” cuts in. It pulls the energy back a bit and plays well with a really strong bass lead and more of that aforementioned captivating melody. This track has screamed portions, and the way it controls tempo really draws out the raw power of the more hardcore moments. Additionally, there’s a bridge offered up by Dayseeker’s lead singer, Rory Rodriguez, which further adds diversity to the range of the album’s vocals. This bit, followed by the outro, reintroduces the instrumental theme of reverberated piano as heard in the intro. Lyrically, it uses lyrics such as the hook, “Drain the blood from the arm of the artist,” to explore the impact of AI on the creative landscape.

The tracks “The Fatalist” and “Widowmaker” come in next. These are two out of four songs in the latter portion of the album that use the poetic theme of death in the titles and lyricism to add an even darker and more raw take to the lyrical penmanship. “The Fatalist” does well at bouncing between quick, screamy punches and a powerful force in belted vocals and quick tempo. Its lyrics, “We’re playing Russian roulette with six bullets / you keep spinning the gun, you won’t shoot it,” have an addictive quality, and it builds into a narrative of the inevitable end of a connection when one is still holding on. “Widowmaker” pulls the tempo back for its beginning with a spoken word bit, and this follows the musical theme of contrasting the stronger sounds with the softer ones as thrashy guitars cut in with the full band sound. The back and forth in this one is great, making it entrancing from start to finish. This track gets into the message that “Time is but a widowmaker,” everything ends.

After this, “Autopilot” comes in with even more of that emo and pop-punk-inspired sound. Said sound is further built upon by including vocals by Cassadee Pope. This track is a great contrast from the other tracks in the album, as it has a more nasally and bright vocal tone and moments that are a bit more anthemic with a less forceful tempo. Then comes the track “Death Hold.” This song has dark lyricism, such as “take this gun from me, I’m in and out of consciousness / put it to my head as I watch you undress.” There’s something about it that stands out thematically as exploring mental health and the way it can infect relationships.

In finality, there is the track “Dying Game,” which is a soft and sweet way to end the album. It’s reflective, and it uses a smooth flow to usher the album away in beauty.  The vocals once again take a sound that’s unique from the rest of the album. Additionally, the instrumentation is more held back than in prior songs. The writing gets into an hourglass running out, which represents the end of a life. It shares the want of wanting to be remembered when all is said and done. It’s poignant and reflective, and it shares the thoughts of one who wants to make their mark on the world.

There it is, Pink Moon. This album, alongside Antibloom, is a stand-out in Silverstein’s discography, and it shows that they’re always reaching for something greater. This comes even with 25 years of making music. It’s crafted in a way that expands on Antibloom, but it also stands out in its own right. Pink Moon is available today, so it’s fresh and ready to stream right now.

Written by Sage Plapp