It’s truly confounding that Underoath chose to stick with Tooth & Nail for yet another album, when they could’ve easily been riding major label dough since 2005 (if not earlier). Sure, their sound is a little jarring for radio or MTV, but it’s certainly FUSE-friendly; their last few albums have achieved massive critical success; they’ve got the Christian leanings; and by this point, they’ve become arguably the biggest band of their metalcore genre.
Perhaps it’s their creative ambition. Since 2004’s They’re Only Chasing Safety, which practically perfected the interlacing of the pop of guilty pleasure nuevo-emo with flashes of sheer aggression, they’ve seemingly become exponentially tired of the format and have played around with electronic flourishes and heavier tendencies ever since. Lost in the Sound of Separation, while certainly not the most perfected result of this creativity, is an electrified, ambitious and very accomplished effort.
“Breathing in a New Mentality” opens with deceiving lo-fi drum slams before it becomes all juggernaut guitar scowls and low howls. The first clean vocal line of the album doesn’t come until nearly two minutes into the next song, “Anyone Can Dig a Hole But It Takes a Real Man to Call It Home,” and it’s a symbol for the entire album; lead screamer Spencer Chamberlain has taken even more of the vocal reigns, letting drummer and backup vocalist Aaron Gillespie focus more on his kit. When Gillespie does join in, it’s much more punctual than on 2006’s Define the Great Line; his best show comes in tracks like “We Are the Involuntary,” “Coming Down Is Calming Down” and the more uptempo “Desperate Times, Desperate Measures,” where, despite sounding an awful lot like Saosin’s Cove Reber, his yelps provide a welcome cleansing contrast.
More production tricks litter “A Fault Line, A Fault of Mine,” but one will really take notice when the strikingly unique and surprisingly long “Emergency Broadcast :: The End Is Near” comes next. It’s nearly six minutes and moves from one passage to another in impressive acts of restraint; an ominous, bellowing chorus soon gives away to a ragged climax that recalls Isis at their best. The skittering programming and creepy gang singing towards its close on “The Only Survivor Was Miraculously Unharmed” resemble Fear Before the March of Flames’ similarly experimental The Always Open Mouth.
The moody underpinnings of 2007's Define the Great Line made it a seemingly darker counter to Chasing Safety’s sunnier bursts, and the band clearly progress here in the direction of the former. Chamberlain is often locked in a struggle with God over his very publicized drug habits of last year, and the music matches it perfectly. Sure, agnostics and atheists might prop up questions of validity for one certain aspect of this lyrical struggle, but Chamberlain’s habits were actually real, and it makes narrative lines like “Every motion is paranoid and paralyzing” and “The floors are shaking” truly come alive.
Never heavy for the sake of heavy and rarely experimental for the sake of the same, Lost in the Sound of the Separation may not be a consistently astounding opus, but to say it isn’t often mesmerizing and provides a number of impressive left turns and challenges would be baseless denial.
Christian Music News Source
Wednesday, December 24, 2008
Wednesday, December 3, 2008
Wednesday, November 26, 2008
TOOTH & NAIL RECORDS FULFILLS WISH FOR ASPIRING MUSICIAN
Seattle, WA...November 12, 2008...Jonathan Stewart, an aspiring musician, was granted a wish of a lifetime on Monday, November 10 with the cooperation of the Make-A-Wish Foundation� and Tooth & Nail Records. Stewart's wish included spending time with the rock niche label Tooth & Nail Records and attending UNDER�ATH's sold-out concert at Seattle's Showbox as a VIP guest.
Stewart was referred to the Make-A-Wish Foundation� for a wish as he dealt with osteosarcoma, a malignant form of bone cancer. He finally was able to travel to Seattle for his long-awaited wish. Requesting to have Tooth & Nail Records as part of his wish was easy for Stewart.
"I chose Tooth & Nail because they fit my style of music and beliefs, and they produce some of my favorite bands," he said. "Ultimately, I would like to be signed by them or a company like them."
His Make-A-Wish day included visiting the label office, touring Compound Studios with producer Aaron Sprinkle (Copeland, MxPx, Hawk Nelson), members of UNDER�ATH and Randy Torres of Project 86 as well as hanging with the members of Demon Hunter. As another fun-filled surprise, Stewart was presented custom UNDER�ATH soda bottles from Jason Hockney of Jones Soda. Stewart also enjoyed dinner with UNDER�ATH and the label.
"We are honored that John would choose Tooth & Nail and UNDER�ATH for his wish," shares label president Brandon Ebel. "It was a very special day for our staff and the band. John and his family are very humble, down to earth people. He listened to brand new mixes from MxPx, played the video game Rock Band with UNDER�ATH, recorded a podcast with myself and The Almost, and was there when UNDER�ATH was presented their new box sets. John and his family will be in our prayers."
Expounding on being a part of Stewart's wish, Chris Dudley (keyboards/samples) of UNDER�ATH stated, "Hanging out with John was awesome. We took him on a tour of our record label, then we went to a recording studio and we actually recorded a song with him. He played guitar, his brother played drums, I sang, Spencer played guitar. It was one of our favorite days on tour, just because it's crazy for us to think that someone who is hooked up with Make-A-Wish would have their wish to be able to hang out with us for the day."
Executives from Cold Stone Creamery, one of the Make-A-Wish Foundation's sponsors, also took part in the wish as part of their 16-city tour visiting various franchises and supporting the foundation's wish-granting efforts. Stewart and the members of UNDER�ATH sampled ice cream on Cold Stone's tour bus after dinner.
About Make-A-Wish Foundation:
The Make-A-Wish Foundation grants the wishes of children with life-threatening medical conditions to enrich the human experience with hope, strength and joy. Founded in 1980 when a group of caring volunteers helped a young boy fulfill his dream of becoming a police officer, the Foundation is now the largest wish-granting charity in the world, with 66 chapters in the United States and its territories. With the help of generous donors and nearly 25,000 volunteers, the Make-A-Wish Foundation grants a wish every 40 minutes and has granted more than 171,000 wishes in the U.S. since inception. For more information about the Make-A-Wish Foundation, visit www.wish.org and discover how you can share the power of a wish�.
About Tooth & Nail Records:
What began in a bedroom over a decade ago has grown organically to become the enthusiastic support system behind many of the most important rock bands operating, including Underoath, Emery, Hawk Nelson, Thousand Foot Krutch and The Almost. With headquarters in Seattle and offices in Nashville, Tennessee and elsewhere, Tooth & Nail Records is also the parent company to Solid State Records (Demon Hunter, Haste The Day) and BEC Recordings (Jeremy Camp, Kutless). Label founder Brandon Ebel became immersed in the network of musicians, clubs, fanzines and promoters who were making waves with bands whose positive messages (whether translated through melodic punk or heavy rock) and creative, inspired music. Driven to this unique perspective, the music press has caught on and embraced many T&N bands the kids already knew. With new signings like Family Force 5, Copeland, Capital Lights and The Becoming injecting fresh life into the company, Tooth & Nail continues to be a vital, dominant presence in the contemporary music scene. For more information, visit www.toothandnail.com.
A Make-A-Wish� Day: (Left to Right) Ken Stewart, Jason Hockney, Sue Stewart, Tyson Paoletti, Annie Crandall, Lori Gerlach, Micah Johnson, Casey Crowell, Jeff Carver, Brandon Ebel, Aaron Gillespie, Scott Carlton, Brandon Day, Spencer Chamberlain, Tim McTague, Jordan Butcher, Chris Dudley, Chad Johnson, Jonathan Stewart, Jim Worthen, James Smith, Chris Stewart, Grant Brandell, Jonathan Dunn
**Jonathan is in the front with the black coat and light jeans. His brother is next to him, and his parents are on the far left.
Chrisian Music News Source
Stewart was referred to the Make-A-Wish Foundation� for a wish as he dealt with osteosarcoma, a malignant form of bone cancer. He finally was able to travel to Seattle for his long-awaited wish. Requesting to have Tooth & Nail Records as part of his wish was easy for Stewart.
"I chose Tooth & Nail because they fit my style of music and beliefs, and they produce some of my favorite bands," he said. "Ultimately, I would like to be signed by them or a company like them."
His Make-A-Wish day included visiting the label office, touring Compound Studios with producer Aaron Sprinkle (Copeland, MxPx, Hawk Nelson), members of UNDER�ATH and Randy Torres of Project 86 as well as hanging with the members of Demon Hunter. As another fun-filled surprise, Stewart was presented custom UNDER�ATH soda bottles from Jason Hockney of Jones Soda. Stewart also enjoyed dinner with UNDER�ATH and the label.
"We are honored that John would choose Tooth & Nail and UNDER�ATH for his wish," shares label president Brandon Ebel. "It was a very special day for our staff and the band. John and his family are very humble, down to earth people. He listened to brand new mixes from MxPx, played the video game Rock Band with UNDER�ATH, recorded a podcast with myself and The Almost, and was there when UNDER�ATH was presented their new box sets. John and his family will be in our prayers."
Expounding on being a part of Stewart's wish, Chris Dudley (keyboards/samples) of UNDER�ATH stated, "Hanging out with John was awesome. We took him on a tour of our record label, then we went to a recording studio and we actually recorded a song with him. He played guitar, his brother played drums, I sang, Spencer played guitar. It was one of our favorite days on tour, just because it's crazy for us to think that someone who is hooked up with Make-A-Wish would have their wish to be able to hang out with us for the day."
Executives from Cold Stone Creamery, one of the Make-A-Wish Foundation's sponsors, also took part in the wish as part of their 16-city tour visiting various franchises and supporting the foundation's wish-granting efforts. Stewart and the members of UNDER�ATH sampled ice cream on Cold Stone's tour bus after dinner.
About Make-A-Wish Foundation:
The Make-A-Wish Foundation grants the wishes of children with life-threatening medical conditions to enrich the human experience with hope, strength and joy. Founded in 1980 when a group of caring volunteers helped a young boy fulfill his dream of becoming a police officer, the Foundation is now the largest wish-granting charity in the world, with 66 chapters in the United States and its territories. With the help of generous donors and nearly 25,000 volunteers, the Make-A-Wish Foundation grants a wish every 40 minutes and has granted more than 171,000 wishes in the U.S. since inception. For more information about the Make-A-Wish Foundation, visit www.wish.org and discover how you can share the power of a wish�.
About Tooth & Nail Records:
What began in a bedroom over a decade ago has grown organically to become the enthusiastic support system behind many of the most important rock bands operating, including Underoath, Emery, Hawk Nelson, Thousand Foot Krutch and The Almost. With headquarters in Seattle and offices in Nashville, Tennessee and elsewhere, Tooth & Nail Records is also the parent company to Solid State Records (Demon Hunter, Haste The Day) and BEC Recordings (Jeremy Camp, Kutless). Label founder Brandon Ebel became immersed in the network of musicians, clubs, fanzines and promoters who were making waves with bands whose positive messages (whether translated through melodic punk or heavy rock) and creative, inspired music. Driven to this unique perspective, the music press has caught on and embraced many T&N bands the kids already knew. With new signings like Family Force 5, Copeland, Capital Lights and The Becoming injecting fresh life into the company, Tooth & Nail continues to be a vital, dominant presence in the contemporary music scene. For more information, visit www.toothandnail.com.
A Make-A-Wish� Day: (Left to Right) Ken Stewart, Jason Hockney, Sue Stewart, Tyson Paoletti, Annie Crandall, Lori Gerlach, Micah Johnson, Casey Crowell, Jeff Carver, Brandon Ebel, Aaron Gillespie, Scott Carlton, Brandon Day, Spencer Chamberlain, Tim McTague, Jordan Butcher, Chris Dudley, Chad Johnson, Jonathan Stewart, Jim Worthen, James Smith, Chris Stewart, Grant Brandell, Jonathan Dunn
**Jonathan is in the front with the black coat and light jeans. His brother is next to him, and his parents are on the far left.
Chrisian Music News Source
Tuesday, November 11, 2008
Thursday, November 6, 2008
Saosin rocks US with Underoath
Post-hardcore rockers Saosin [ tickets ] are trying out new material on fans as they traverse the US with metalcore outfit Underoath [ tickets ].
The bands, which launched the tour last week, continue tonight (10/21) in Baltimore, and will make their way from the East Coast to the West Coast and back by late November. The Devil Wears Prada is also on the bill, and P.O.S., Person L, and The Famine appear on select dates. The itinerary is listed below.
As Saosin prepares for its sophomore album, the band is letting fans get a look at some behind-the-scenes action. Real-time audio/video feeds of the group's recent recording sessions at the Hurley clothing company's Costa Mesa, CA, studio were piped into Saosin's website, and the So-Cal rockers are now planning live feeds from their tour bus.
The band's forthcoming record, which follows its 2006 debut, is expected to hit the streets early next year. For those who can't wait, Saosin has released "The Grey" EP, which features three new songs recorded in the Hurley studio and an acoustic version of the previously released track "Come Close."
Underoath is supporting its new set, "Lost in the Sound of Separation," which surfaced last month and reached No. 8 on The Billboard 200. The Tampa, FL-based sextet is in the midst of a world tour that moves into South America in December. Underoath's full itinerary can be found at its website.
Christian Music News Source
The bands, which launched the tour last week, continue tonight (10/21) in Baltimore, and will make their way from the East Coast to the West Coast and back by late November. The Devil Wears Prada is also on the bill, and P.O.S., Person L, and The Famine appear on select dates. The itinerary is listed below.
As Saosin prepares for its sophomore album, the band is letting fans get a look at some behind-the-scenes action. Real-time audio/video feeds of the group's recent recording sessions at the Hurley clothing company's Costa Mesa, CA, studio were piped into Saosin's website, and the So-Cal rockers are now planning live feeds from their tour bus.
The band's forthcoming record, which follows its 2006 debut, is expected to hit the streets early next year. For those who can't wait, Saosin has released "The Grey" EP, which features three new songs recorded in the Hurley studio and an acoustic version of the previously released track "Come Close."
Underoath is supporting its new set, "Lost in the Sound of Separation," which surfaced last month and reached No. 8 on The Billboard 200. The Tampa, FL-based sextet is in the midst of a world tour that moves into South America in December. Underoath's full itinerary can be found at its website.
Christian Music News Source
Between the Buried and Me, Underoath, Authority Zero headed to Rock Band 2
The producers of Rock Band 2 have announced the addition of 20 free songs to the game. Tracks come from The 88, Authority Zero, Between The Buried And Me, The Cab, The Chevelles, The Cocktail Slippers, Dealership, Endeverafter, The Ghost Hounds, Hollywood Undead, Kutless, The Len Price 3, Lesley Roy, Opiate for the Masses, Semi-Precious Weapons, Shaimus, Thenewno2", Tickle Me Pink, Underoath, X Japan,
MTV Games and Harmonix will release a 20-pack of songs, free to those who purchase Rock Band 2 on PS3, Xbox 360, and Wii. The tracks will be made available on November 4 for PS3 and Xbox 360, with the Wii pack ready for download when Rock Band 2 ships to Nintendo's console this December.
You can click Read More for the details.
* The 88 - "Sons and Daughters"
* Authority Zero - "No Regrets"
* Between the Buried and Me - "Prequel To The Sequel"
* The Cab - "Bounce"
* The Chevelles - "Get It On"
* The Cocktail Slippers - "Give It To Me"
* Dealership - "Database Corrupted"
* Endeverafter - "I Wanna Be Your Man"
* The Ghost Hounds - "Ashes To Fire"
* Hollywood Undead - "Young"
* Kutless - "The Feeling"
* The Len Price 3 - "If I Ain't Got You"
* Lesley Roy - "I'm Gone, I'm Going"
* Opiate for the Masses - "Burn You Down"
* Semi-Precious Weapons - "Magnetic Baby"
* Shaimus - "Like a Fool"
* Thenewno2" - Crazy Tuesday"
* Tickle Me Pink - "The Time Is Wrong"
* Underoath - "Desperate Times, Desperate Measures"
* X Japan - "I.V."
Christian Music News Source
MTV Games and Harmonix will release a 20-pack of songs, free to those who purchase Rock Band 2 on PS3, Xbox 360, and Wii. The tracks will be made available on November 4 for PS3 and Xbox 360, with the Wii pack ready for download when Rock Band 2 ships to Nintendo's console this December.
You can click Read More for the details.
* The 88 - "Sons and Daughters"
* Authority Zero - "No Regrets"
* Between the Buried and Me - "Prequel To The Sequel"
* The Cab - "Bounce"
* The Chevelles - "Get It On"
* The Cocktail Slippers - "Give It To Me"
* Dealership - "Database Corrupted"
* Endeverafter - "I Wanna Be Your Man"
* The Ghost Hounds - "Ashes To Fire"
* Hollywood Undead - "Young"
* Kutless - "The Feeling"
* The Len Price 3 - "If I Ain't Got You"
* Lesley Roy - "I'm Gone, I'm Going"
* Opiate for the Masses - "Burn You Down"
* Semi-Precious Weapons - "Magnetic Baby"
* Shaimus - "Like a Fool"
* Thenewno2" - Crazy Tuesday"
* Tickle Me Pink - "The Time Is Wrong"
* Underoath - "Desperate Times, Desperate Measures"
* X Japan - "I.V."
Christian Music News Source
Underoath once was (almost lost), but now is sound
Strip away the doom-laden guitars, feral howl of vocals and chest-rattling bass, and you'll find God in Underoath. "Good God, if your song leaves our lips, if your work leaves our hands, then we will be wonders and vagabonds," you can make out Spencer Chamberlain singing in one of the quieter moments of the metal band's new album, Lost in the Sound of Separation.
"I'm as Christian as you can be," says bassist Grant Brandell, tracing his beliefs back to age 13. "It's definitely the foundation of our band. It's literally how we communicate with people. It's not just an on-stage thing."
Oh, if only it were that easy. Underoath, which plays Tuesday at Water Street Music Hall, has emerged from Florida as one of the premier metal bands of the moment, dominating a genre of music that is frequently seen as anything but Christian. And the relentless touring, with so many temptations at hand, so many easy choices to be made, can test a man.
"Just because you're a Christian," Brandell says, "doesn't mean you can't go through things that are not ideal."
Metal is a visceral experience. Brandell has witnessed shows get out of hand, with crowds pushing against barricades, "people getting beat up, people going nuts, getting hurt. And offstage, all of the backstage antics."
Underoath members are veterans of the Taste of Chaos, Warped and Mayhem tours, alongside the likes of Slipknot, Mastodon, Disturbed and Dragonforce. That surely must have tested the mettle of this Christian metal band.
"You've gotta know your place," Brandell says. "If you see someone in another band doing something I don't agree with, making yourself not being around ... is one way to deal with it. If I want to go out and get drunk and sleep with women, I can find that. It's definitely a personal decision.
"But it's not like you close yourself off to it. Talking about it, after the act, is one way to deal with it."
Metal has carried the rap, unfairly or not, as being some kind of art form without consequences. Perhaps most famously, Judas Priest was sued by the parents of a young man who killed himself, supposedly after listening to a Judas Priest song.
"You can take an art, like music, you can use it for any cause," Brandell says. "Metal definitely has an aggressive sound to it, it has an angry sound to it. Angry. Bad. Evil. At the same time, it's a powerful thing. You're still expressing yourself.
"We've had people come up and thank us, and we have people who think we're hypocrites. It's just how people perceive metal. The hardest thing is, we are human beings. I can have a bad day, I have my crappy days where maybe I didn't say the right thing to somebody. I don't want to say we're in a leadership position. But you're putting yourself up in the spotlight."
Christians though they are, Underoath is not immune to the volcanic nature of metal. In 2006, it was reportedly simmering with internal strife over, of all things, religious arguments within the band. That, and what the band at first denied, and now concedes is true — it all came out at what Brandell describes as "a big band meeting" — that Chamberlain had a cocaine problem.
"Yes and no," Brandell says of whether he was aware of Chamberlain's personal struggles. "I knew there was something there. I didn't know what.
"He wasn't happy. He obviously didn't want to be doing it. He wanted to break it, escape doing that. He definitely wanted help."
And these young guys, in their mid-20s at the time, maybe didn't know how to help. Some wanted to walk away from Chamberlain. It's tough on guys who believe, as Brandell says, that God "should impact every decision you make, all day long." Such an inconsistency was nearly the end of Underoath, Brandell concedes.
"Yeah, I've been through a couple of those with friends," he says. "I've never been in that situation myself.
"I'm not a therapist, I don't know the 12-step program. All I know is being a friend."
In time, Underoath has healed. Released last month, Lost in the Sound of Separation debuted at No.8 on the Billboard top 200 album chart. At least the band's fans stuck with Underoath. In "Desperate Times Desperate Measures," Chamberlain sings of how "I've been crawling around in the dark for a while." A band falling apart is a desolate sound. Perhaps those fans are taking solace in a familiar place.
Christian Music News Source
"I'm as Christian as you can be," says bassist Grant Brandell, tracing his beliefs back to age 13. "It's definitely the foundation of our band. It's literally how we communicate with people. It's not just an on-stage thing."
Oh, if only it were that easy. Underoath, which plays Tuesday at Water Street Music Hall, has emerged from Florida as one of the premier metal bands of the moment, dominating a genre of music that is frequently seen as anything but Christian. And the relentless touring, with so many temptations at hand, so many easy choices to be made, can test a man.
"Just because you're a Christian," Brandell says, "doesn't mean you can't go through things that are not ideal."
Metal is a visceral experience. Brandell has witnessed shows get out of hand, with crowds pushing against barricades, "people getting beat up, people going nuts, getting hurt. And offstage, all of the backstage antics."
Underoath members are veterans of the Taste of Chaos, Warped and Mayhem tours, alongside the likes of Slipknot, Mastodon, Disturbed and Dragonforce. That surely must have tested the mettle of this Christian metal band.
"You've gotta know your place," Brandell says. "If you see someone in another band doing something I don't agree with, making yourself not being around ... is one way to deal with it. If I want to go out and get drunk and sleep with women, I can find that. It's definitely a personal decision.
"But it's not like you close yourself off to it. Talking about it, after the act, is one way to deal with it."
Metal has carried the rap, unfairly or not, as being some kind of art form without consequences. Perhaps most famously, Judas Priest was sued by the parents of a young man who killed himself, supposedly after listening to a Judas Priest song.
"You can take an art, like music, you can use it for any cause," Brandell says. "Metal definitely has an aggressive sound to it, it has an angry sound to it. Angry. Bad. Evil. At the same time, it's a powerful thing. You're still expressing yourself.
"We've had people come up and thank us, and we have people who think we're hypocrites. It's just how people perceive metal. The hardest thing is, we are human beings. I can have a bad day, I have my crappy days where maybe I didn't say the right thing to somebody. I don't want to say we're in a leadership position. But you're putting yourself up in the spotlight."
Christians though they are, Underoath is not immune to the volcanic nature of metal. In 2006, it was reportedly simmering with internal strife over, of all things, religious arguments within the band. That, and what the band at first denied, and now concedes is true — it all came out at what Brandell describes as "a big band meeting" — that Chamberlain had a cocaine problem.
"Yes and no," Brandell says of whether he was aware of Chamberlain's personal struggles. "I knew there was something there. I didn't know what.
"He wasn't happy. He obviously didn't want to be doing it. He wanted to break it, escape doing that. He definitely wanted help."
And these young guys, in their mid-20s at the time, maybe didn't know how to help. Some wanted to walk away from Chamberlain. It's tough on guys who believe, as Brandell says, that God "should impact every decision you make, all day long." Such an inconsistency was nearly the end of Underoath, Brandell concedes.
"Yeah, I've been through a couple of those with friends," he says. "I've never been in that situation myself.
"I'm not a therapist, I don't know the 12-step program. All I know is being a friend."
In time, Underoath has healed. Released last month, Lost in the Sound of Separation debuted at No.8 on the Billboard top 200 album chart. At least the band's fans stuck with Underoath. In "Desperate Times Desperate Measures," Chamberlain sings of how "I've been crawling around in the dark for a while." A band falling apart is a desolate sound. Perhaps those fans are taking solace in a familiar place.
Christian Music News Source
Thursday, October 30, 2008
ROCK BAND 2 ADDS UNDEROATH AND KUTLESS
NEWS SOURCE: PS3.IGN.com, a Jesusfreakhideout.com report
October 22, 2008
One of our readers (Jeff M.) wrote in to us last night to let us in on a news report at PS3.IGN.com announcing that the popular and recently released Rock Band 2 video game will be releasing 20 free downloadable songs on November 4 to those who have purchased Rock Band 2 on PS3, Xbox 360, and Wii. Included in the list of mainstream artists will be "The Feeling" by BEC Recordings' Kutless and "Desperate Times, Desperate Measures" by Tooth & Nail Records' UnderOath. Well... it's a start. Hopefully we'll see more artists like these in future game updates.
Christian Music News Source
October 22, 2008
One of our readers (Jeff M.) wrote in to us last night to let us in on a news report at PS3.IGN.com announcing that the popular and recently released Rock Band 2 video game will be releasing 20 free downloadable songs on November 4 to those who have purchased Rock Band 2 on PS3, Xbox 360, and Wii. Included in the list of mainstream artists will be "The Feeling" by BEC Recordings' Kutless and "Desperate Times, Desperate Measures" by Tooth & Nail Records' UnderOath. Well... it's a start. Hopefully we'll see more artists like these in future game updates.
Christian Music News Source
Wednesday, October 22, 2008
Underoath heads out on US tour, prepares for S. American tour
Underoath kicked off a 34-city fall headlining tour yesterday in Lake Buena Vista, FL. The tour continues through November 25th. In December, the band embarks on their first-ever tour of South America, hitting Brazil, Argentina, Chile and Columbia.
Underoath is no stranger to global touring. The band is fresh off an eight country-tour that took them across the U.S., U.K., Mexico, Canada, Italy, Germany, South Africa and Australia in support of their new album, Lost In The Sound of Separation. The band's last three albums had combined sales in excess of one million copies, and after being released in 17 countries, their new project is poised to add to the success.
On the Headbanger's Blog, Underoath guitarist Tim McTague talks about filming the video for the band's latest single, "Desperate Times, Desperate Measures," and you check out the the animated, stop action video.
Christian Music News Source
Underoath is no stranger to global touring. The band is fresh off an eight country-tour that took them across the U.S., U.K., Mexico, Canada, Italy, Germany, South Africa and Australia in support of their new album, Lost In The Sound of Separation. The band's last three albums had combined sales in excess of one million copies, and after being released in 17 countries, their new project is poised to add to the success.
On the Headbanger's Blog, Underoath guitarist Tim McTague talks about filming the video for the band's latest single, "Desperate Times, Desperate Measures," and you check out the the animated, stop action video.
Christian Music News Source
Underoath Announce US, Latin American Dates
Underoath have returned to the US for a 34-city fall headlining trek which kicked off October 15 in Lake Buena Vista, FL. Their new trek takes the band to 34 cities across the country including stops at New York City’s Terminal 5 (3,000 capacity) on Sunday, October 26 and Irvine, CA’s Bren Events Center (5,000 capacity, just outside Los Angeles) on Saturday, November 15.
After wrapping a hugely successful sold-out shows in eight countries around the globe--US, UK, Mexico, Canada, Italy, Germany, South Africa and Australia--Underoath continue to garner new fans and widespread critical acclaim for their new album Lost In The Sound Of Separation as well as their powerful live performances. In his four-out-of-five star CD review in Kerrang! (national, U.K. music weekly), writer Dan Slessor hailed:
“Whether it’s the convulsive frenzy of ‘Breathing in A New Mentality,’ the steamrolling ‘Emergency Broadcast: The End Is Near’ which shifts effortlessly between sludgy bludgeon and ethereal desperation, or the violent pseudo-anthem ‘Desperate Times, Desperate Measures,’ the record comes across as an exercise in barely controlled--and deeply seductive--chaos. Yet in a further demonstration of their emotive power, the record concludes with back-to-back tracks steeped in tragic solemnity--‘Too Bright To See, To Loud To Hear’ and ‘Desolate Earth: The End Is Here’--and it’s hard to shake off the melancholy hangover that lingers long after the speaks have fallen quiet.“
Underoath--whose last three albums count combined sales in excess of one million copies--recently released their fourth album Lost In The Sound Of Separation on Seattle indie Tooth & Nail/Solid State. The disc marked the top rock debut for the week and entered the Billboard Top 200 Album chart at #8, #1 on the Top Christian albums chart and #5 on the Top Digital albums chart, with over 9,476 digital downloads its first week.
Produced by Underoath--lead vocalist Spencer Chamberlain, guitarist Tim McTague, bassist Grant Brandell, drummer Aaron Gillespie, keyboardist Christopher Dudley and guitarist James Smith--Adam Dutkiewicz and Matt Goldman and mixed by veteran David Bendeth Lost In The Sound Of Separation is epic and intimate, brutal and beautiful, catapulting the group far beyond their previous works. Underoath have built one of the biggest metalcore followings in the world, and with Lost In The Sound Of Separation--a diverse musical display coupled with the input of six opinionated souls--the sky’s the limit for Underoath.
Lost In The Sound Of Separation has been released in over 17 countries around the world including: US, Canada, UK, Ireland, Austria, Germany, Greece, Hungary, Italy, Netherlands, Poland, South Africa, Switzerland, Japan, Australia, New Zealand, Mexico and now in South America. In December, the band will embark on their first-ever tour of South America, hitting Brazil, Argentina, Chile and Columbia.
Underoath’s first single “Desperate Times, Desperate Measures” is impacting Modern Rock and Active Rock radio. The video for the song can be seen on MTV and Fuse. Check out the stop animation video--directed by Walter Robot (Modest Mouse “Missed the Boat”).
* Underoath w/Saosin, The Devil Wears Prada, and P.O.S.
* Wed 10/15 Lake Buena Vista, FL House of Blues
* Thu 10/16 Atlanta, GA The Masquerade
* Fri 10/17 Atlanta, GA The Masquerade
* Sat 10/18 Charlotte, NC Amo’s Southend
* Sun 10/19 Richmond, VA The National
* Tue 10/21 Baltimore, MD Ram’s Head Live!
* Wed 10/22 Philadelphia, PA Electric Factory
* Thu 10/23 Hartford, CT Webster Theatre
* Fri 10/24 Worcester, MA Palladium
* Sat 10/25 Sayreville, NJ Starland Ballroom
* Sun 10/26 New York, NY Terminal 5
* Underoath w/ Saosin, The Devil Wears Prada, and Person L
* Tue 10/28 Rochester, NY West Street Music Hall
* Wed 10/29 Cheswick, PA Gravity
* Thu 10/30 Cincinnati, OH Bogart’s
* Fri 10/31 Royal Oak, MI Royal Oak Music Theatre
* Sat 11/1 Chicago, IL Riviera Theatre
* Sun 11/2 Sauget, IL Pops
* Tue 11/4 Milwaukee, WI The Rave (Eagles Club)
* Wed 11/5 St. Paul, MN The Myth
* Thu 11/6 Kansas City, MO Beaumont Club
* Fri 11/7 Denver, CO The Fillmore Auditorium
* Sat 11/8 Salt Lake City, UT In The Venue
* Underoath w/ Saosin, The Devil Wears Prada, and The Famine
* Mon 11/10 Seattle, WA Showbox (at the Market)
* Tue 11/11 Portland, OR Roseland Theatre
* Thu 11/13 San Francisco, CA The Grand Ballroom
* Fri 11/14 Ventura, CA Ventura Theatre
* Sat 11/15 Irvine, CA Bren Events Center (UC Irvine)
* Sun 11/16 San Diego, CA SOMA
* Tue 11/18 Las Vegas, NV House of Blues
* Wed 11/19 Tempe, AZ Marquee Theatre
* Thu 11/20 Albuquerque, NM Sunshine Theatre
* Fri 11/21 San Antonio, TX Sunset Station
* Sat 11/22 Dallas, TX Palladium Ballroom
* Sun 11/23 Houston, TX Verizon Wireless Theatre
* Tue 11/25 Tampa, FL The Ritz
* South America
* Sat 12/13 Curitiba, Brazil John Bull Music Hall
* Sun 12/14 Sao Paulo, Brazil Santana Hall
* Tue 12/16 Buenos Aires, Argentina Teatrito
* Wed 12/17 Buenos Aires, Argentina Teatrito
* Thu 12/18 Santiago, Chile Teatro Novedades
* Sat 12/20 Bogota, Columbia Teatro Metro Bogota
* Central America
* Sun 12/21 Panama City, Panama Ciudad de Panamá
Christian Music News Source
After wrapping a hugely successful sold-out shows in eight countries around the globe--US, UK, Mexico, Canada, Italy, Germany, South Africa and Australia--Underoath continue to garner new fans and widespread critical acclaim for their new album Lost In The Sound Of Separation as well as their powerful live performances. In his four-out-of-five star CD review in Kerrang! (national, U.K. music weekly), writer Dan Slessor hailed:
“Whether it’s the convulsive frenzy of ‘Breathing in A New Mentality,’ the steamrolling ‘Emergency Broadcast: The End Is Near’ which shifts effortlessly between sludgy bludgeon and ethereal desperation, or the violent pseudo-anthem ‘Desperate Times, Desperate Measures,’ the record comes across as an exercise in barely controlled--and deeply seductive--chaos. Yet in a further demonstration of their emotive power, the record concludes with back-to-back tracks steeped in tragic solemnity--‘Too Bright To See, To Loud To Hear’ and ‘Desolate Earth: The End Is Here’--and it’s hard to shake off the melancholy hangover that lingers long after the speaks have fallen quiet.“
Underoath--whose last three albums count combined sales in excess of one million copies--recently released their fourth album Lost In The Sound Of Separation on Seattle indie Tooth & Nail/Solid State. The disc marked the top rock debut for the week and entered the Billboard Top 200 Album chart at #8, #1 on the Top Christian albums chart and #5 on the Top Digital albums chart, with over 9,476 digital downloads its first week.
Produced by Underoath--lead vocalist Spencer Chamberlain, guitarist Tim McTague, bassist Grant Brandell, drummer Aaron Gillespie, keyboardist Christopher Dudley and guitarist James Smith--Adam Dutkiewicz and Matt Goldman and mixed by veteran David Bendeth Lost In The Sound Of Separation is epic and intimate, brutal and beautiful, catapulting the group far beyond their previous works. Underoath have built one of the biggest metalcore followings in the world, and with Lost In The Sound Of Separation--a diverse musical display coupled with the input of six opinionated souls--the sky’s the limit for Underoath.
Lost In The Sound Of Separation has been released in over 17 countries around the world including: US, Canada, UK, Ireland, Austria, Germany, Greece, Hungary, Italy, Netherlands, Poland, South Africa, Switzerland, Japan, Australia, New Zealand, Mexico and now in South America. In December, the band will embark on their first-ever tour of South America, hitting Brazil, Argentina, Chile and Columbia.
Underoath’s first single “Desperate Times, Desperate Measures” is impacting Modern Rock and Active Rock radio. The video for the song can be seen on MTV and Fuse. Check out the stop animation video--directed by Walter Robot (Modest Mouse “Missed the Boat”).
* Underoath w/Saosin, The Devil Wears Prada, and P.O.S.
* Wed 10/15 Lake Buena Vista, FL House of Blues
* Thu 10/16 Atlanta, GA The Masquerade
* Fri 10/17 Atlanta, GA The Masquerade
* Sat 10/18 Charlotte, NC Amo’s Southend
* Sun 10/19 Richmond, VA The National
* Tue 10/21 Baltimore, MD Ram’s Head Live!
* Wed 10/22 Philadelphia, PA Electric Factory
* Thu 10/23 Hartford, CT Webster Theatre
* Fri 10/24 Worcester, MA Palladium
* Sat 10/25 Sayreville, NJ Starland Ballroom
* Sun 10/26 New York, NY Terminal 5
* Underoath w/ Saosin, The Devil Wears Prada, and Person L
* Tue 10/28 Rochester, NY West Street Music Hall
* Wed 10/29 Cheswick, PA Gravity
* Thu 10/30 Cincinnati, OH Bogart’s
* Fri 10/31 Royal Oak, MI Royal Oak Music Theatre
* Sat 11/1 Chicago, IL Riviera Theatre
* Sun 11/2 Sauget, IL Pops
* Tue 11/4 Milwaukee, WI The Rave (Eagles Club)
* Wed 11/5 St. Paul, MN The Myth
* Thu 11/6 Kansas City, MO Beaumont Club
* Fri 11/7 Denver, CO The Fillmore Auditorium
* Sat 11/8 Salt Lake City, UT In The Venue
* Underoath w/ Saosin, The Devil Wears Prada, and The Famine
* Mon 11/10 Seattle, WA Showbox (at the Market)
* Tue 11/11 Portland, OR Roseland Theatre
* Thu 11/13 San Francisco, CA The Grand Ballroom
* Fri 11/14 Ventura, CA Ventura Theatre
* Sat 11/15 Irvine, CA Bren Events Center (UC Irvine)
* Sun 11/16 San Diego, CA SOMA
* Tue 11/18 Las Vegas, NV House of Blues
* Wed 11/19 Tempe, AZ Marquee Theatre
* Thu 11/20 Albuquerque, NM Sunshine Theatre
* Fri 11/21 San Antonio, TX Sunset Station
* Sat 11/22 Dallas, TX Palladium Ballroom
* Sun 11/23 Houston, TX Verizon Wireless Theatre
* Tue 11/25 Tampa, FL The Ritz
* South America
* Sat 12/13 Curitiba, Brazil John Bull Music Hall
* Sun 12/14 Sao Paulo, Brazil Santana Hall
* Tue 12/16 Buenos Aires, Argentina Teatrito
* Wed 12/17 Buenos Aires, Argentina Teatrito
* Thu 12/18 Santiago, Chile Teatro Novedades
* Sat 12/20 Bogota, Columbia Teatro Metro Bogota
* Central America
* Sun 12/21 Panama City, Panama Ciudad de Panamá
Christian Music News Source
Underoath: Metalcore hitmakers 'Lost In The Sound Of Separation'
Tony Cummings reports on the best selling hard music phenomenon that is UNDEROATH
The latest big hit for those Florida practitioners of metalcore mayhem, Underoath, (the band's 'Lost In The Sound Of Separation' entered Billboard's Top 200 album chart at number eight) continues to mystify industry observers who insist that you must have big radio or MTV support to generate the big sales. Recently Christianity Today asked the band's frontman Spencer Chamberlain why he thought Underoath could succeed with little or no airplay or MTV exposure. "A lot of bands rely on what's popular now - with videos and the whole radio push. Since we started as a band years and years ago, I think [we've] built a more honest fan base. We were always hanging out with the people on every tour you'd go to. Back in the day, we used to play a show and then announce from stage that we were going to Denny's to eat after the show, and that the whole audience could join us. It's a lot different for bands that do it that way as opposed to putting out a poppy record that blows up on radio [because it caters to a fad]."
This summer Underoath toured the US with bands like Disturbed and the notorious Slipknot. Christianity Today asked them how they could "reconcile touring with secular bands that don't stand for the same things?" Said Chamberlain, "We do it all the time. Very rarely are we on tour with a Christian band. Everyone on [that] tour is really good friends by now. There's this mindset that unbelievers are close-minded to believers [and vice versa]. But I wouldn't not hang out with you if you were an atheist any more than I would hang out with you if you were a Christian. It wouldn't matter to me. If you're a cool dude, you're a cool dude either way."
Guitarist Tim McTague took up the topic. "Honestly, I love the dudes from Slipknot. They've been nothing but nice to us and respectful. As far as their music goes, whether we like their music or not, does it really come into play? Just because we do music differently than they do, I don't think the way we do things should be forced on them. The fact that I view music and life and faith and beliefs differently than probably anyone on the tour for the most part, that shouldn't put up any roadblocks for me getting into their lives and being friends. That's one thing that we're really conscious about. I think Nickelback's music is the dumbest thing ever - I think they're the worst band ever. But if [Nickelback frontman] Chad Kroeger came in to chat, I wouldn't tell him, 'I can't hang out with you because I think your band sucks.'"
In all their live shows Underoath make a point of name-checking Jesus. Said Chamberlain, "I don't plan what I'm going to say. I make sure I say it in a respectful manner towards people, so they don't take it like I'm coming after them or that I'm smarter or better than them. That's not the case. I just like to share with people. I don't want people to think that because we believe in something that all Christians feel superior, or that we're going to judge you because you don't [share our beliefs]. That's probably the biggest thing I'm trying to prove wrong - the biggest damage of Christianity that I'm trying to repair. I'm like, 'The reason I tell you about this is because it helped me out. I'm going to share that with you because it really did make a big difference in my life. But it doesn't make me any better than anybody else. I'm not perfect and never ever will be. I screw up every day. But it's made my life that much better.' I feel it's more honest. It's not like telling you what to do, but just telling you what I do."
Chamberlain explained where the 'Lost In The Sound Of Separation' album title came from. "It's actually a lyric from a song. The whole story is all pretty much the last two years of my life. It could be interpreted as me trying to separate the things that I should be doing - what God is actually calling me to do - and the things that I actually do. As Christians, we fall all the time and do things that are selfish. We know what we're supposed to do, but can't always hear which voice in our heads is the right one and the wrong one. 'Lost In The Sound Of Separation' is trying to string out and differentiate all the different voices talking at the same time in our heads: the conscience of God, best friends, parents and anyone telling us [what do to and how to live]."
So how would McTague compare the album's style with previous releases? "The heavy parts are way heavier. The melodic parts are way more melodic. The lyrics have a lot of meaning. You can tell from the whole thing that we're still the same band and that we're coming from the same kind of place, but we've also gone in a direction that's harder and farther than anything we've ever done. I hope that's the way that people who listen to [the new album] see it."
The positive Christian message that clearly comes through in Underoath's songs is vitally important to the band. Said McTague, "The rock scene as we know it is kind of self-absorbed in and of itself. There's really no purpose in anything. The purpose of rock 'n' roll is being as careless and reckless as you possibly can. For me, I hope that our songs at least carry some sort of lasting purpose that is universally productive to society - not talking about how this chick is a certain way, or how I want to become a rock star or whatever those dumb bands talk about. It really hurts me and bothers me that bands like that have so much power and influence over the people that listen to them, yet they waste it with stupid, catchy lyrics that any 10-year-old could write. I think it's important to take that seriously and go, 'This is real stuff. You're a real human. I'm a real human. We're not here very long and we have to get somewhere positively, not in a negative way.' I hope that people hear us and see us and feel a sense of substance and purpose. I think that's what's missing in the music of the 21st century, and it's something that we're not willing to let go of."
McTague continued, "The cycle of our last record was probably the hardest of our career, but it was also one of the best. We've had all these great accomplishments and mountains that we never thought we'd see the top of, and then we also had some of the worst. We broke up for a month [after 'Define The Great Line']. The only reason why our band was able to make this new record was by the grace of God and his hand and purpose on us. Literally, we're just as dysfunctional people, if not more so, than anyone else on this planet. And I don't profess just because I'm a Christian to have it all figured out or that I'm better than anyone else. I really think that the day that God pulls his hand off our band that we'll just implode. I'm confident that every day we get up and make it through another day is a day that God intended us to be a band. The day that we break up is the very exact day that I know he's telling us, 'You've served your purpose. I'm done with you guys. Now go do something else.'"
Christian Music News Source
The latest big hit for those Florida practitioners of metalcore mayhem, Underoath, (the band's 'Lost In The Sound Of Separation' entered Billboard's Top 200 album chart at number eight) continues to mystify industry observers who insist that you must have big radio or MTV support to generate the big sales. Recently Christianity Today asked the band's frontman Spencer Chamberlain why he thought Underoath could succeed with little or no airplay or MTV exposure. "A lot of bands rely on what's popular now - with videos and the whole radio push. Since we started as a band years and years ago, I think [we've] built a more honest fan base. We were always hanging out with the people on every tour you'd go to. Back in the day, we used to play a show and then announce from stage that we were going to Denny's to eat after the show, and that the whole audience could join us. It's a lot different for bands that do it that way as opposed to putting out a poppy record that blows up on radio [because it caters to a fad]."
This summer Underoath toured the US with bands like Disturbed and the notorious Slipknot. Christianity Today asked them how they could "reconcile touring with secular bands that don't stand for the same things?" Said Chamberlain, "We do it all the time. Very rarely are we on tour with a Christian band. Everyone on [that] tour is really good friends by now. There's this mindset that unbelievers are close-minded to believers [and vice versa]. But I wouldn't not hang out with you if you were an atheist any more than I would hang out with you if you were a Christian. It wouldn't matter to me. If you're a cool dude, you're a cool dude either way."
Guitarist Tim McTague took up the topic. "Honestly, I love the dudes from Slipknot. They've been nothing but nice to us and respectful. As far as their music goes, whether we like their music or not, does it really come into play? Just because we do music differently than they do, I don't think the way we do things should be forced on them. The fact that I view music and life and faith and beliefs differently than probably anyone on the tour for the most part, that shouldn't put up any roadblocks for me getting into their lives and being friends. That's one thing that we're really conscious about. I think Nickelback's music is the dumbest thing ever - I think they're the worst band ever. But if [Nickelback frontman] Chad Kroeger came in to chat, I wouldn't tell him, 'I can't hang out with you because I think your band sucks.'"
In all their live shows Underoath make a point of name-checking Jesus. Said Chamberlain, "I don't plan what I'm going to say. I make sure I say it in a respectful manner towards people, so they don't take it like I'm coming after them or that I'm smarter or better than them. That's not the case. I just like to share with people. I don't want people to think that because we believe in something that all Christians feel superior, or that we're going to judge you because you don't [share our beliefs]. That's probably the biggest thing I'm trying to prove wrong - the biggest damage of Christianity that I'm trying to repair. I'm like, 'The reason I tell you about this is because it helped me out. I'm going to share that with you because it really did make a big difference in my life. But it doesn't make me any better than anybody else. I'm not perfect and never ever will be. I screw up every day. But it's made my life that much better.' I feel it's more honest. It's not like telling you what to do, but just telling you what I do."
Chamberlain explained where the 'Lost In The Sound Of Separation' album title came from. "It's actually a lyric from a song. The whole story is all pretty much the last two years of my life. It could be interpreted as me trying to separate the things that I should be doing - what God is actually calling me to do - and the things that I actually do. As Christians, we fall all the time and do things that are selfish. We know what we're supposed to do, but can't always hear which voice in our heads is the right one and the wrong one. 'Lost In The Sound Of Separation' is trying to string out and differentiate all the different voices talking at the same time in our heads: the conscience of God, best friends, parents and anyone telling us [what do to and how to live]."
So how would McTague compare the album's style with previous releases? "The heavy parts are way heavier. The melodic parts are way more melodic. The lyrics have a lot of meaning. You can tell from the whole thing that we're still the same band and that we're coming from the same kind of place, but we've also gone in a direction that's harder and farther than anything we've ever done. I hope that's the way that people who listen to [the new album] see it."
The positive Christian message that clearly comes through in Underoath's songs is vitally important to the band. Said McTague, "The rock scene as we know it is kind of self-absorbed in and of itself. There's really no purpose in anything. The purpose of rock 'n' roll is being as careless and reckless as you possibly can. For me, I hope that our songs at least carry some sort of lasting purpose that is universally productive to society - not talking about how this chick is a certain way, or how I want to become a rock star or whatever those dumb bands talk about. It really hurts me and bothers me that bands like that have so much power and influence over the people that listen to them, yet they waste it with stupid, catchy lyrics that any 10-year-old could write. I think it's important to take that seriously and go, 'This is real stuff. You're a real human. I'm a real human. We're not here very long and we have to get somewhere positively, not in a negative way.' I hope that people hear us and see us and feel a sense of substance and purpose. I think that's what's missing in the music of the 21st century, and it's something that we're not willing to let go of."
McTague continued, "The cycle of our last record was probably the hardest of our career, but it was also one of the best. We've had all these great accomplishments and mountains that we never thought we'd see the top of, and then we also had some of the worst. We broke up for a month [after 'Define The Great Line']. The only reason why our band was able to make this new record was by the grace of God and his hand and purpose on us. Literally, we're just as dysfunctional people, if not more so, than anyone else on this planet. And I don't profess just because I'm a Christian to have it all figured out or that I'm better than anyone else. I really think that the day that God pulls his hand off our band that we'll just implode. I'm confident that every day we get up and make it through another day is a day that God intended us to be a band. The day that we break up is the very exact day that I know he's telling us, 'You've served your purpose. I'm done with you guys. Now go do something else.'"
Christian Music News Source
Tuesday, October 21, 2008
Underoath Redefined
Underoath just revealed that they’re feeling pretty confident at this stage. Oh, really?
Of all the things uncovered in our interview with the GRAMMY-nominated hardcore act, this was hardly earth shattering to hear. After all, the band’s last two studio LPs—They’re Only Chasing Safety and Define the Great Line (Tooth & Nail)—were certified Gold, the latter landing at No. 2 on the Billboard Top 100. Numerous high profile headlining slots and magazine covers only solidify the fact that Underoath is one of rock music’s brightest bands.
We recently caught up with keyboardist Chris Dudley to tell us the latest on the band’s new album, Lost in the Sound of Separation (Tooth & Nail), and how they handle the achievements of drummer Aaron Gillespie’s side project (The Almost) with the band’s own success.
CCM: You’re in the middle of CD release season, so what’s the feeling for the band right now?
Chris Dudley (Underoath): It’s awesome. Everyone is just really, really excited to get the record out. It’s a weird thing when a record comes out because we hear the songs for so long. I think we probably have a different view on them than others because we’ve heard them in one form or another for two years. For others, they don’t even exist yet, but for us, we know them all front and back. So we are ready to get it out and see what others will think of it for a change. [Laughs]
CCM: You’re coming off a string of such well-received albums. What is the confidence level on this one? Is it much different?
Chris: Back when we recorded Define the Great Line, we had a real confidence level that we had built something that we loved. We didn’t necessarily know if it would do well sales-wise, because it was so heavy. But we knew that we couldn’t have done any better, and we were very confident in that. With this record, I feel exactly the same way. This one is a lot heavier than Define the Great Line, so I don’t know how it will do necessarily. But we have definitely done the best we can do. I have a lot of confidence that if people like it, they will like us. And if they don’t like it, then there’s nothing we could have done better.
CCM: What’s the theme behind Lost in the Sound of Separation?
Chris: The record as a whole has a theme of realizing that you’re not where you need to be in your life, that you have changes that you need to make. It’s figuring out that you don’t have life figured out. For me, it deals with those times in your life that you feel separated and that you’re not where you need to be in that aspect. It’s that kick in the pants moment when you realize you need to stop being an idiot and just do what you need to do.
Christian Music News Source
Of all the things uncovered in our interview with the GRAMMY-nominated hardcore act, this was hardly earth shattering to hear. After all, the band’s last two studio LPs—They’re Only Chasing Safety and Define the Great Line (Tooth & Nail)—were certified Gold, the latter landing at No. 2 on the Billboard Top 100. Numerous high profile headlining slots and magazine covers only solidify the fact that Underoath is one of rock music’s brightest bands.
We recently caught up with keyboardist Chris Dudley to tell us the latest on the band’s new album, Lost in the Sound of Separation (Tooth & Nail), and how they handle the achievements of drummer Aaron Gillespie’s side project (The Almost) with the band’s own success.
CCM: You’re in the middle of CD release season, so what’s the feeling for the band right now?
Chris Dudley (Underoath): It’s awesome. Everyone is just really, really excited to get the record out. It’s a weird thing when a record comes out because we hear the songs for so long. I think we probably have a different view on them than others because we’ve heard them in one form or another for two years. For others, they don’t even exist yet, but for us, we know them all front and back. So we are ready to get it out and see what others will think of it for a change. [Laughs]
CCM: You’re coming off a string of such well-received albums. What is the confidence level on this one? Is it much different?
Chris: Back when we recorded Define the Great Line, we had a real confidence level that we had built something that we loved. We didn’t necessarily know if it would do well sales-wise, because it was so heavy. But we knew that we couldn’t have done any better, and we were very confident in that. With this record, I feel exactly the same way. This one is a lot heavier than Define the Great Line, so I don’t know how it will do necessarily. But we have definitely done the best we can do. I have a lot of confidence that if people like it, they will like us. And if they don’t like it, then there’s nothing we could have done better.
CCM: What’s the theme behind Lost in the Sound of Separation?
Chris: The record as a whole has a theme of realizing that you’re not where you need to be in your life, that you have changes that you need to make. It’s figuring out that you don’t have life figured out. For me, it deals with those times in your life that you feel separated and that you’re not where you need to be in that aspect. It’s that kick in the pants moment when you realize you need to stop being an idiot and just do what you need to do.
Christian Music News Source
Tuesday, October 7, 2008
Ratatat, Underoath release solid albums
Ratatat - LP3
Regaling their audience with another album, Ratatat released LP3 last July. Ratatat found a few different styles and sounds to share with their audiences in LP3.
Somewhat expected from a band that has opened for Daft Punk, Ratatat hit with some upbeat and club sounds in their most recent single, “Shempi.” This sound enticed the listener to venture deeper into the album, sharing sounds different from most club music. However, when the song starts to stray to more ambiguous sounds, the bass line brings the listener back into the song.
Ratatat later moves to a stereotypical Eastern European sound with “Gipsy Threat.” Coming with beats and riffs like Gogol Bordello, it seems all that’s missing are Eugene Hütz Nikolaev vocals.
Whether you are a first -time listener or a returning fan, this fluid dance album would be great for your next walk across campus or just chilling in your room and relaxing.
- Trevor Ruwitch, KWLC Hip Hop DJ
Underoath - Lost in the Sound of Seperation
Fans of metal were caught off guard this month with the release of Underoath’s new album Lost in the Sound of Separation. The Florida-based band has grown from a once pop-punk, screamo band with generic riffs and whiny vocals to a full fledged force of metal to be reckoned with. Hailing Underoath’s new album as their “heaviest” would be an understatement.
The album starts with “Breathing in a New Mentality,” a song beginning with some basic snare hits, hardcore riffs and improvised screaming by singer Spencer Chaimberlain, turning the corner after a few measures into a brutal new sound that knocks listeners to the ground. They don’t quit throughout the album, playing music that would knock your grandma down the stairs.
This album is not only Underoath’s heaviest, it is also their most musically talented. This album shows the band has truly matured as musicians. With a wide range of paces, grooves and breakdowns, this album will make you want to move. With Chaimberlain’s massive growls and screams you’ll get sat back down, and with the soft interlude melodies you will be soothed and ready for the next epic set of songs.
If you’re looking for something more than your generic thrash-and-smash metal album, look no further. Lost in the Sound of Separation will move you, it will groove you and most of all it will give you a kick in the teeth!
- Andy Hoffman, KWLC Loud Rock Music Director
Christian Music News Source
Regaling their audience with another album, Ratatat released LP3 last July. Ratatat found a few different styles and sounds to share with their audiences in LP3.
Somewhat expected from a band that has opened for Daft Punk, Ratatat hit with some upbeat and club sounds in their most recent single, “Shempi.” This sound enticed the listener to venture deeper into the album, sharing sounds different from most club music. However, when the song starts to stray to more ambiguous sounds, the bass line brings the listener back into the song.
Ratatat later moves to a stereotypical Eastern European sound with “Gipsy Threat.” Coming with beats and riffs like Gogol Bordello, it seems all that’s missing are Eugene Hütz Nikolaev vocals.
Whether you are a first -time listener or a returning fan, this fluid dance album would be great for your next walk across campus or just chilling in your room and relaxing.
- Trevor Ruwitch, KWLC Hip Hop DJ
Underoath - Lost in the Sound of Seperation
Fans of metal were caught off guard this month with the release of Underoath’s new album Lost in the Sound of Separation. The Florida-based band has grown from a once pop-punk, screamo band with generic riffs and whiny vocals to a full fledged force of metal to be reckoned with. Hailing Underoath’s new album as their “heaviest” would be an understatement.
The album starts with “Breathing in a New Mentality,” a song beginning with some basic snare hits, hardcore riffs and improvised screaming by singer Spencer Chaimberlain, turning the corner after a few measures into a brutal new sound that knocks listeners to the ground. They don’t quit throughout the album, playing music that would knock your grandma down the stairs.
This album is not only Underoath’s heaviest, it is also their most musically talented. This album shows the band has truly matured as musicians. With a wide range of paces, grooves and breakdowns, this album will make you want to move. With Chaimberlain’s massive growls and screams you’ll get sat back down, and with the soft interlude melodies you will be soothed and ready for the next epic set of songs.
If you’re looking for something more than your generic thrash-and-smash metal album, look no further. Lost in the Sound of Separation will move you, it will groove you and most of all it will give you a kick in the teeth!
- Andy Hoffman, KWLC Loud Rock Music Director
Christian Music News Source
Underoath Show Canada Love
Tampa, Fla. metallers Underoath were in Toronto recently to promote their newly released Lost In The Sound Of Separation, and ChartAttack had the chance to talk to them just after a sound-check prior to an MTV Canada appearance. They were far more freaked out about television than talking to me.
"This will be the first time we've ever played on TV," said bassist Grant Brandell. "It's kind of cool that they're letting us do it, so hopefully it will be good.
"It's a little nerve-racking playing live, but whatever. We do it every day in a way, so it will be fine, I'm sure."
Kids packed the Masonic Temple studio to catch a free performance by the boys, who later played the Phoenix Concert Theatre. Brandell says Canadian fans always give the band a warm reception, which is why they played the Toronto show before heading to Europe.
"We wanted to do some cool CD release shows, and Canada has always been really good to us for shows and people coming out, and we definitely appreciate it. It has just always been cool to do a day-after CD release show here for the Canadian fans, too. It's kind of weird. We've just always had really good shows here. I don't really know why, but I'm not complaining by any means.
"It's just cool to be able to play new songs now, too. Kids have the CD, so they actually know what the lyrics are and the music and stuff, and they get more into it when we play live."
Brandell says it's important for kids to understand the message in the band's music, as their goal was to create a multi-dimensional album that's meant to be enjoyed from front to back.
"Nowadays, some people kind of just listen to a couple of tracks, skim through it and get in and out of it. I think listening to a band's whole album isn't done as much anymore. I think that you take the good and the bad out, you have songs that you love and songs that you don't like as much, but it's all part of the whole thing."
Though the significance of Underoath's message is important to the band, Brandell only has one wish regarding fans and his music:
"I just hope they just enjoy it. I would obviously like them to think that it's our best stuff and that it's good, but I just hope they just enjoy it, get what we're going for and support us."
Christian Music News Source
"This will be the first time we've ever played on TV," said bassist Grant Brandell. "It's kind of cool that they're letting us do it, so hopefully it will be good.
"It's a little nerve-racking playing live, but whatever. We do it every day in a way, so it will be fine, I'm sure."
Kids packed the Masonic Temple studio to catch a free performance by the boys, who later played the Phoenix Concert Theatre. Brandell says Canadian fans always give the band a warm reception, which is why they played the Toronto show before heading to Europe.
"We wanted to do some cool CD release shows, and Canada has always been really good to us for shows and people coming out, and we definitely appreciate it. It has just always been cool to do a day-after CD release show here for the Canadian fans, too. It's kind of weird. We've just always had really good shows here. I don't really know why, but I'm not complaining by any means.
"It's just cool to be able to play new songs now, too. Kids have the CD, so they actually know what the lyrics are and the music and stuff, and they get more into it when we play live."
Brandell says it's important for kids to understand the message in the band's music, as their goal was to create a multi-dimensional album that's meant to be enjoyed from front to back.
"Nowadays, some people kind of just listen to a couple of tracks, skim through it and get in and out of it. I think listening to a band's whole album isn't done as much anymore. I think that you take the good and the bad out, you have songs that you love and songs that you don't like as much, but it's all part of the whole thing."
Though the significance of Underoath's message is important to the band, Brandell only has one wish regarding fans and his music:
"I just hope they just enjoy it. I would obviously like them to think that it's our best stuff and that it's good, but I just hope they just enjoy it, get what we're going for and support us."
Christian Music News Source
Spun: Underoath
Underoath fans won't be disappointed with the band's latest addition to their discography, Lost in the Sound of Separation, which offers no shortage of lyrical curiosity and pounding, harmonized instrumental components to match. Despite obvious growth in the band, their newest album feels as though it is a continuation of their 2006 release, Define the Great Line. The all-around hardness of the record continues the direction in which Underoath began to head, but is fittingly accompanied by softer melodies.
The underlying theme to nearly every track on Sound of Separation is desolation and hope. This is seamlessly displayed in "We Are the Involuntary," harking lyrics like "A falling of man / We are all lost in the sound of separation / Hands in the air and love at our sides / There's gotta be something bigger," which bring to light questions for all of humanity (or at least those listening) to consider. Carrying on this theme of hopelessness with a silver lining is the track "Emergency Broadcast: The End is Near," one of the heavier tracks on the album. Vocally, it gives off an eerie, almost ghostly feel in its calls for hope in the form of background chanting and haunting orchestrated melodies.
All in all, Lost In The Sound of Separation is a gleaming example of a band deep in contemplation, stuck in a maze of philosophical and desolate questions, none of which are given an answer. Fortunately, from these questions rose a perfectly balanced album that reflects every bit of contrasting hope/hopelessness in its music. Underoath keeps it raw and compelling, making for an all around pleasing album once again.
Christian Music News Source
The underlying theme to nearly every track on Sound of Separation is desolation and hope. This is seamlessly displayed in "We Are the Involuntary," harking lyrics like "A falling of man / We are all lost in the sound of separation / Hands in the air and love at our sides / There's gotta be something bigger," which bring to light questions for all of humanity (or at least those listening) to consider. Carrying on this theme of hopelessness with a silver lining is the track "Emergency Broadcast: The End is Near," one of the heavier tracks on the album. Vocally, it gives off an eerie, almost ghostly feel in its calls for hope in the form of background chanting and haunting orchestrated melodies.
All in all, Lost In The Sound of Separation is a gleaming example of a band deep in contemplation, stuck in a maze of philosophical and desolate questions, none of which are given an answer. Fortunately, from these questions rose a perfectly balanced album that reflects every bit of contrasting hope/hopelessness in its music. Underoath keeps it raw and compelling, making for an all around pleasing album once again.
Christian Music News Source
Tuesday, September 30, 2008
UNDEROATH ROCK THE HELL OUT OF DURBAN (24/09)
Can you believe it, someone stole my Bad Religion sticker? They dug their nails in, pealed it back and physically removed it from the back of my car. Now I put up with a lot of in-your-face religious bumper stickers that I don't agree with. Whatever, each to their own, it doesn't bother me. But Bad Religion's just one of my favourite bands, and they're a great band, way smarter than the small-minded public censor that just proved them right. That aside, Americans Underoath were in town, and let me tell you, they're one hell of a live act.
REMAINING DATES:
Sep 25, Black Dahlia, Boksburg
Sep 26, Bells Sundowners, Jo'burg
Sep 27, Rustic Theatre, Jo'burg
The Wave House at Gateway's been through some major changes lately. It's had a facelift, and a lot of skate park territory has been sucked up and flattened to make way for a new concrete assembly area, come open-air arena. It's a dangerous thought, rock shows on concrete. But it worked for the Uprising festival, so chances were it was gonna work again.
I got there too late for New Altum but did catch Unlisted and New Found Disorder. Both bands were extremely competent, but I battled to get into either of them. And when Durban steam pistons Go Go Bronco came on, you could feel the difference.
Go Go Bronco seem highly affected by the brother-bear hardcore sentiments of recently-toured-South-Africa, DIY American hardcore heads Shipwreck AD, and echoed messages of scene building and solidarity. Their set was rocking as usual, but it definitely sounds like they're singing more these days. I just wish they'd record an album already.
It never ceases to amaze me how little thought goes into the music in-between bands at a festival. It's like they forget about it 'till the last minute, steal the lamest guy at the party's iPod and hook it up to the sound system. I heard some Gomez, and Gomez are cool, but at an Underoath show? Some might say that the delicacies of Abandoned Shopping Trolley Hotline were somewhat lost in translation on the black t-shirt, emocore-looking crowd. Don't even get me started on some of the other crap pouring out of the speakers in-between bands. What's up with that?
I've always been a bit of a HiKaToRi skeptic. I don't know why – maybe it's just the way they write their name. But straight away, they stood out in an old-fashioned entertainment kind of way. Dressed in matching-yet-different band T-shirts, their show was a complete mixture of tunes, from old-Offspring-like punk rock to rapcore and nu-metal, all sung in Afrikaans. And their presence and on-stage charisma was fun-inspiring and care-free, even a broken arm couldn't keep frontman and percussionist, Nico Botha, from having a good time.
All the way from Potchefstroom, Straatligkinders were up next. “Can I get some more sweatband in my monitor please? Just a little bit,” asked vocalist Bouwer Bosch. Straatligkinders have got to be one of the hardest working bands in South Africa. Those guys just tour and release albums non-stop, and as a result, they're building up a major fan-base around the country. “Bouwer!” girls were screaming, singing all the lyrics and verging on star-struck. Even I went a little schoolboy when they played their “hardcore techno sokkie,” “Avontuur van 'n Hartbreek.” They all jump around like mental patients on a day out, and they're a tight live band that play an energetic and fun mix of emo, hardcore and punk rock. It would be so easy for them all to dress in black and slick their hair to the side, but their punk rock influences shine through, and they're a very likable band. I just think some backup vocals would add a new level of dynamism to their live show. Like I've said before, even Matthew Bellamy needs backups.
Next, Durban's Crossingpoint were typically brutal and serious, and like Uprisings, looked well at home jamming on a giant stage with a powerful lighting rig. I don't think they're quite as convincing on the mellow bits, but their angry face is frothing-at-the-mouth rabid and obliterating. Guitarist and only original member, Brandon van Eeden, looked like he was having the show of his life.
With their roots lying deeply towards the nu-metal genre, The Narrow seemed like a weird opening act choice for a melodic hardcore/screamo band. It was kinda like a sucker punch really, I had no idea they were playing, and to the right people, The Narrow are an incredibly big deal. They didn't come to close to blowing me away like they did at last year's Woodstock, and the sound kept cutting out, but The Narrow delivered their usual, muscular, ultra-professional mix of nu-metal and modern rock experimentations. But for some reason, it just came across as underwhelming.
All the local bands were done by around 8pm, but Underoath were sticking to their guns and only going on at nine. After a long day in the sun, and now with the place on lockdown (once you were out you couldn't come back in) and some of the world's worst music playing over the sound system, it was one of those special four hour-long-feeling hours. The kind usually reserved for 3pm on a Friday afternoon.
Every time a sound-guy strummed a guitar the crowd erupted. And when drummer Aaron Gillespie got on stage, forget about it. The roughly 600 strong crowd swallowed its own tongue with anticipation, and then it was on.
The sound was phenomenal for Underoath, probably the best live sound I've ever heard – the snare didn't even sound like a real snare it sounded so good, and the kick drum was like a punch in the chest. Underoath do this for a living, they've travelled the world and I knew they were gonna be good, but their set was one of those frozen moments discussed with childish enthusiasm after the show and remembered for a long time to come.
Frontman Spencer Chamberlain's got a weird onstage persona for a Christian hardcore band. He looks and slinks around the stage more like Marilyn Manson than your usual, more testosterone-driven screaming frontman. He's a sensitive screamer, a long and gangly stickman that's 70% voice, 10% body and 20% hair.
Drummer Aaron Gillespie is one of the best live drummers I've ever seen. At one point I saw him lie back on his drum stool, his long ginger mane touching the floor behind him. Then he sprung up and smashed his cymbals with a look on his face that could have melted plastic. His rolls were like stolen moments that weren't meant to exist, and his double bass and hi-hat work was literally unreal – and he's singing the whole time! “Sings like an angel, hits those drums like the Devil,” one of my friends commented.
Also, thanks to evangelical-looking keyboard player Christopher Dudley, Underoath play with pre-recorded samples and other digital loops. Often, I couldn't tell what he was playing, but it must have been electric, 'cos the guy looked like he was getting shocked the whole show. Even when he jumped into the crowd to dish out high fives, his body shook like Chris Farley on a freak out. The most impressive his work sounded was on “It's Dangerous Business Walking Out Your Front Door”, when the sample “Drowning in my sleep” kicked in. It just sounded so impressive, powerful and tight.
I know Underoath have lost a lot of fans on their path to a more melodic, more pop-friendly metrosexual-looking style of music. But they've probably picked up more. And as far as live acts go, they were up there with MUSE for onstage power and presence. And even though they're big stars, they did come across as down to earth and genuine. I was seriously impressed, they kick.
During Underoath's encore there was a beautifully-poetic moment when Go Go Bronco guitarist James crowd-surfed his way over the barrier. “Don't worry dude, I'll just jump back over,” it looked like he was saying to the burly-looking security guard, but the guy looked like he just wanted to grab James' neck and drag him out of the pit. Before he could, James broke free and jumped over the barrier into the crowd, middle-fingering the school of hard knocks security guard his whole way back into the heaving depths of the moshpit. Underoath tickets, R300, food and drink, R200, the look on security's face when he realised he wasn't gonna be able to revenge having the bird flipped in his face, priceless.
Underoath's set was short and sweet, and wrapped up by around 11pm. There'd been a rumour circulating that The City Bowl Mizers were gonna play at the all day Winston Pub festival, Voices in the Crowd. I'd just seen vocalist Martin crowd-walking and singing along to Underoath, and the rest of the band had been boozing all day. But sure enough, at around 12pm they were on stage at The Winston, banging out a fun, punk rock version of a Mizers set, galvanised and encouraged by the sheer magnificence of Underoath's performance.
Christian Music News Source
REMAINING DATES:
Sep 25, Black Dahlia, Boksburg
Sep 26, Bells Sundowners, Jo'burg
Sep 27, Rustic Theatre, Jo'burg
The Wave House at Gateway's been through some major changes lately. It's had a facelift, and a lot of skate park territory has been sucked up and flattened to make way for a new concrete assembly area, come open-air arena. It's a dangerous thought, rock shows on concrete. But it worked for the Uprising festival, so chances were it was gonna work again.
I got there too late for New Altum but did catch Unlisted and New Found Disorder. Both bands were extremely competent, but I battled to get into either of them. And when Durban steam pistons Go Go Bronco came on, you could feel the difference.
Go Go Bronco seem highly affected by the brother-bear hardcore sentiments of recently-toured-South-Africa, DIY American hardcore heads Shipwreck AD, and echoed messages of scene building and solidarity. Their set was rocking as usual, but it definitely sounds like they're singing more these days. I just wish they'd record an album already.
It never ceases to amaze me how little thought goes into the music in-between bands at a festival. It's like they forget about it 'till the last minute, steal the lamest guy at the party's iPod and hook it up to the sound system. I heard some Gomez, and Gomez are cool, but at an Underoath show? Some might say that the delicacies of Abandoned Shopping Trolley Hotline were somewhat lost in translation on the black t-shirt, emocore-looking crowd. Don't even get me started on some of the other crap pouring out of the speakers in-between bands. What's up with that?
I've always been a bit of a HiKaToRi skeptic. I don't know why – maybe it's just the way they write their name. But straight away, they stood out in an old-fashioned entertainment kind of way. Dressed in matching-yet-different band T-shirts, their show was a complete mixture of tunes, from old-Offspring-like punk rock to rapcore and nu-metal, all sung in Afrikaans. And their presence and on-stage charisma was fun-inspiring and care-free, even a broken arm couldn't keep frontman and percussionist, Nico Botha, from having a good time.
All the way from Potchefstroom, Straatligkinders were up next. “Can I get some more sweatband in my monitor please? Just a little bit,” asked vocalist Bouwer Bosch. Straatligkinders have got to be one of the hardest working bands in South Africa. Those guys just tour and release albums non-stop, and as a result, they're building up a major fan-base around the country. “Bouwer!” girls were screaming, singing all the lyrics and verging on star-struck. Even I went a little schoolboy when they played their “hardcore techno sokkie,” “Avontuur van 'n Hartbreek.” They all jump around like mental patients on a day out, and they're a tight live band that play an energetic and fun mix of emo, hardcore and punk rock. It would be so easy for them all to dress in black and slick their hair to the side, but their punk rock influences shine through, and they're a very likable band. I just think some backup vocals would add a new level of dynamism to their live show. Like I've said before, even Matthew Bellamy needs backups.
Next, Durban's Crossingpoint were typically brutal and serious, and like Uprisings, looked well at home jamming on a giant stage with a powerful lighting rig. I don't think they're quite as convincing on the mellow bits, but their angry face is frothing-at-the-mouth rabid and obliterating. Guitarist and only original member, Brandon van Eeden, looked like he was having the show of his life.
With their roots lying deeply towards the nu-metal genre, The Narrow seemed like a weird opening act choice for a melodic hardcore/screamo band. It was kinda like a sucker punch really, I had no idea they were playing, and to the right people, The Narrow are an incredibly big deal. They didn't come to close to blowing me away like they did at last year's Woodstock, and the sound kept cutting out, but The Narrow delivered their usual, muscular, ultra-professional mix of nu-metal and modern rock experimentations. But for some reason, it just came across as underwhelming.
All the local bands were done by around 8pm, but Underoath were sticking to their guns and only going on at nine. After a long day in the sun, and now with the place on lockdown (once you were out you couldn't come back in) and some of the world's worst music playing over the sound system, it was one of those special four hour-long-feeling hours. The kind usually reserved for 3pm on a Friday afternoon.
Every time a sound-guy strummed a guitar the crowd erupted. And when drummer Aaron Gillespie got on stage, forget about it. The roughly 600 strong crowd swallowed its own tongue with anticipation, and then it was on.
The sound was phenomenal for Underoath, probably the best live sound I've ever heard – the snare didn't even sound like a real snare it sounded so good, and the kick drum was like a punch in the chest. Underoath do this for a living, they've travelled the world and I knew they were gonna be good, but their set was one of those frozen moments discussed with childish enthusiasm after the show and remembered for a long time to come.
Frontman Spencer Chamberlain's got a weird onstage persona for a Christian hardcore band. He looks and slinks around the stage more like Marilyn Manson than your usual, more testosterone-driven screaming frontman. He's a sensitive screamer, a long and gangly stickman that's 70% voice, 10% body and 20% hair.
Drummer Aaron Gillespie is one of the best live drummers I've ever seen. At one point I saw him lie back on his drum stool, his long ginger mane touching the floor behind him. Then he sprung up and smashed his cymbals with a look on his face that could have melted plastic. His rolls were like stolen moments that weren't meant to exist, and his double bass and hi-hat work was literally unreal – and he's singing the whole time! “Sings like an angel, hits those drums like the Devil,” one of my friends commented.
Also, thanks to evangelical-looking keyboard player Christopher Dudley, Underoath play with pre-recorded samples and other digital loops. Often, I couldn't tell what he was playing, but it must have been electric, 'cos the guy looked like he was getting shocked the whole show. Even when he jumped into the crowd to dish out high fives, his body shook like Chris Farley on a freak out. The most impressive his work sounded was on “It's Dangerous Business Walking Out Your Front Door”, when the sample “Drowning in my sleep” kicked in. It just sounded so impressive, powerful and tight.
I know Underoath have lost a lot of fans on their path to a more melodic, more pop-friendly metrosexual-looking style of music. But they've probably picked up more. And as far as live acts go, they were up there with MUSE for onstage power and presence. And even though they're big stars, they did come across as down to earth and genuine. I was seriously impressed, they kick.
During Underoath's encore there was a beautifully-poetic moment when Go Go Bronco guitarist James crowd-surfed his way over the barrier. “Don't worry dude, I'll just jump back over,” it looked like he was saying to the burly-looking security guard, but the guy looked like he just wanted to grab James' neck and drag him out of the pit. Before he could, James broke free and jumped over the barrier into the crowd, middle-fingering the school of hard knocks security guard his whole way back into the heaving depths of the moshpit. Underoath tickets, R300, food and drink, R200, the look on security's face when he realised he wasn't gonna be able to revenge having the bird flipped in his face, priceless.
Underoath's set was short and sweet, and wrapped up by around 11pm. There'd been a rumour circulating that The City Bowl Mizers were gonna play at the all day Winston Pub festival, Voices in the Crowd. I'd just seen vocalist Martin crowd-walking and singing along to Underoath, and the rest of the band had been boozing all day. But sure enough, at around 12pm they were on stage at The Winston, banging out a fun, punk rock version of a Mizers set, galvanised and encouraged by the sheer magnificence of Underoath's performance.
Christian Music News Source
Friday, September 19, 2008
Underoath - Lost in the Sound of Separation (Tooth & Nail/Solid State Records)
Sounds like … the screamo-metalcore of bands like Emery, Blindside, Demon Hunter, Haste the Day, Norman Jean, and Thrice.
At a glance … though not as melodic or experimental as some suggest, Lost in the Sound of Separation still demonstrates why Underoath ranks among the upper echelon of metalcore.
With their release of Define the Great Line in 2006, Underoath became the biggest band out of Tooth & Nail Records since P.O.D., thanks to strong album sales, widespread critical acclaim, and a surging fan base overflowing from the Christian market into the mainstream. Yet shortly after, to everyone's surprise, the band pulled out from the Vans Warped Tour. Some fans grew increasingly uncertain of Underoath's future the following year when drummer/vocalist Aaron Gillespie released his side project as The Almost.
Breathe easy, Underoath isn't finished yet. They took time off to solidify their friendships within the band, strained by the rigors of touring. They're seemingly stronger for it, growing more collaborative in their creative process. This new season is reflected through their fourth studio project, Lost in the Sound of Separation, which, though not necessarily their best work, sure comes close—and it's almost certainly their most thought-out.
Reteaming with Define producers Adam Ditkiewicz (Killswitch Engage) and Matt Goldman (Copeland, The Chariot), Underoath sounds as polished as metalcore can be. The primary appeal of this Tampa, Florida sextet is that, unlike most hardcore metal bands, there's more to them than decibel level. There's a lot of musicianship underlying the vocals, much of it bombastic, though some of it intricate and experimental.
That said, this is not a record for those who can't find the musicality in metalcore. Nor is it as melodic as it's made out to be—unless by melody you mean occasional singing by Spencer Chamberlain and Gillespie, but it's never as catchy as, say, P.O.D. or Demon Hunter. And while some parts are experimental, it's not much different or groundbreaking from past projects by Underoath and other metalcore bands. Lost in the Sound of Separation is about as good as Define or 2004's They're Only Chasing Safety, but it never quite surpasses them with anything that hasn't been heard before.
What does elevate Lost above its predecessors is thematic scope. This 43-minute album represents a soul-searching journey of change that takes the listener to hell and back.
The opening thrash of "Breathing in a New Mentality" revolves around the chanted scream, "I'm the desperate and you're the Savior," and when you grasp the words, it's very much a modern psalm pleading for deliverance: "Clean me up, show me how to live/Tear me down, let me start again." Carrying on with the wordy titles, "Anyone Can Dig a Hole…" expresses fear and uncertainty that faith and life are meaningless, yet concludes, "I am the one who's wrong/God forgive me!" And then "A Fault Line a Fault of Mine" plays like a confession, admitting a need for change....
Continue Reading at this Christian Music Review
At a glance … though not as melodic or experimental as some suggest, Lost in the Sound of Separation still demonstrates why Underoath ranks among the upper echelon of metalcore.
With their release of Define the Great Line in 2006, Underoath became the biggest band out of Tooth & Nail Records since P.O.D., thanks to strong album sales, widespread critical acclaim, and a surging fan base overflowing from the Christian market into the mainstream. Yet shortly after, to everyone's surprise, the band pulled out from the Vans Warped Tour. Some fans grew increasingly uncertain of Underoath's future the following year when drummer/vocalist Aaron Gillespie released his side project as The Almost.
Breathe easy, Underoath isn't finished yet. They took time off to solidify their friendships within the band, strained by the rigors of touring. They're seemingly stronger for it, growing more collaborative in their creative process. This new season is reflected through their fourth studio project, Lost in the Sound of Separation, which, though not necessarily their best work, sure comes close—and it's almost certainly their most thought-out.
Reteaming with Define producers Adam Ditkiewicz (Killswitch Engage) and Matt Goldman (Copeland, The Chariot), Underoath sounds as polished as metalcore can be. The primary appeal of this Tampa, Florida sextet is that, unlike most hardcore metal bands, there's more to them than decibel level. There's a lot of musicianship underlying the vocals, much of it bombastic, though some of it intricate and experimental.
That said, this is not a record for those who can't find the musicality in metalcore. Nor is it as melodic as it's made out to be—unless by melody you mean occasional singing by Spencer Chamberlain and Gillespie, but it's never as catchy as, say, P.O.D. or Demon Hunter. And while some parts are experimental, it's not much different or groundbreaking from past projects by Underoath and other metalcore bands. Lost in the Sound of Separation is about as good as Define or 2004's They're Only Chasing Safety, but it never quite surpasses them with anything that hasn't been heard before.
What does elevate Lost above its predecessors is thematic scope. This 43-minute album represents a soul-searching journey of change that takes the listener to hell and back.
The opening thrash of "Breathing in a New Mentality" revolves around the chanted scream, "I'm the desperate and you're the Savior," and when you grasp the words, it's very much a modern psalm pleading for deliverance: "Clean me up, show me how to live/Tear me down, let me start again." Carrying on with the wordy titles, "Anyone Can Dig a Hole…" expresses fear and uncertainty that faith and life are meaningless, yet concludes, "I am the one who's wrong/God forgive me!" And then "A Fault Line a Fault of Mine" plays like a confession, admitting a need for change....
Continue Reading at this Christian Music Review
Underoath - Survive, Kaleidoscope (2008)
Heavy music needs Underoath. They're one of the few bands to emerge from the metalcore scene of the early '00s with their own identity, image and ideology. The scene has become largely faceless. Most heavy bands rip off either Killswitch Engage or Hatebreed. Perhaps, the ever prevalent, down-and-dirty coupling of hardcore and metal is a reaction to nu metal's arena bombast and self-indulgence. That's justified to a degree, but it still makes for a lot of repetitive, faceless metallic garbage—just reference past lineups for the New England Metal and Hardcore festival for proof. 21st Century heavy music is just extremely boring.
In 2006, Underoath changed that with the release of Define the Great Line. It's sprawling concept gave MySpace junkies a sonic headtrip of a record in the vein of White Pony. Define is heavy, intelligent and often thought provoking. Its release saw Underoath become bona fide heavy hitters in the scene with massive sales. However, what cemented Underoath's status was their cathartic, primal and often hypnotic live energy.
Their new live CD/DVD Survive, Kaleidoscope chronicles and captures that energy artfully. The DVD features an explosive set from the Electric Factory in Philadelphia, shot on the band's 2007 headlining tour. The jaunt allowed Underoath to have the stage to themselves, with full production. Like any great live band, they make very good use of that giant video screen, for sure. The band sounds pristine on gnashing cuts like "In Regards to Myself" and "To Whom It May Concern." Everything translates in the live arena for Underoath, and they become even more dangerous on stage....
Continue Reading at this Christian Music Review
In 2006, Underoath changed that with the release of Define the Great Line. It's sprawling concept gave MySpace junkies a sonic headtrip of a record in the vein of White Pony. Define is heavy, intelligent and often thought provoking. Its release saw Underoath become bona fide heavy hitters in the scene with massive sales. However, what cemented Underoath's status was their cathartic, primal and often hypnotic live energy.
Their new live CD/DVD Survive, Kaleidoscope chronicles and captures that energy artfully. The DVD features an explosive set from the Electric Factory in Philadelphia, shot on the band's 2007 headlining tour. The jaunt allowed Underoath to have the stage to themselves, with full production. Like any great live band, they make very good use of that giant video screen, for sure. The band sounds pristine on gnashing cuts like "In Regards to Myself" and "To Whom It May Concern." Everything translates in the live arena for Underoath, and they become even more dangerous on stage....
Continue Reading at this Christian Music Review
Underoath - Define the Great Line (Solid State/Tooth & Nail)
Sounds like … a stronger, more visceral version of My Chemical Romance, Hawthorne Heights, Senses Fail, and other representatives of the emo-screamo canon.
At a glance … Define the Great Line not only redefines the sound of Underoath, but also has the potential of redefining the hardcore emo genre.
When you think about it, it's a small wonder that Underoath has enjoyed strong mainstream success so far. For one thing, they're an emo band at heart, in a market already oversaturated with whiny, heart-on-sleeve rock soundalikes. And then there's the matter of their faith, boldly proclaiming Christ from onstage—generally not something that will enhance any mainstream aspirations. So how exactly does a group like that gain acceptance in the secular market?
Hard to say. Much like Mae, here's a band whose videos and radio singles received virtually no airplay in the teen-rock outlets, yet still managed to outsell most of its peers. Moving well over 350,000 copies of their 2004 breakthrough They're Only Chasing Safety, Underoath has become the first true breakout act for the label's Solid State imprint, and one of the biggest success stories to rise from Seattle's Tooth & Nail ranks since MxPx and P.O.D. Moreover, only 20,000 of those CDs were sold in the Christian marketplace, which doesn't have the same craving for post-hardcore. (Lifeway bookstores reportedly refused to stock Underoath product.)
It's still too early to say if Underoath will truly become this generation's P.O.D., but one thing's for sure—their new album, Define the Great Line, has all the makings of a blockbuster effort, much like 2001's Satellite was for P.O.D. Co-produced by Atlanta-based producer/drummer Matt Goldman and Killswitch Engage guitarist Adam Dutkiewicz, Define the Great Line simply sounds huge, far removed from the tamer and thinner feel of its predecessor. Once recording wrapped, the disc was handed off to mixing guru Chris Lord-Alge, today's authority in mixing rock music. The results show.
Underoath's previous efforts rocked with propriety, sticking close to the formulaic confines of emo-core, with loads of monotonic screaming, scattered melodies, simplistic guitar riffs, and brutal pounding. This time, however, every component of the Underoath machine is amplified a hundredfold, as if to give rise to an all-new model of the band.
Frontman Spencer Chamberlain, for example, is no longer an indiscriminate, undecipherable yeller, but now a versatile vocalist, transitioning impeccably between feral shrieks, bestial growls, and melodic tones. As the newest member since the departure of Underoath's original vocalist, he seems more comfortable in his skin than ever before. Together with drummer Aaron Gillespie (he's the bona fide singer of the group), all vocal duties are handled seamlessly and with command. This being hardcore, it's still not all delivered with clarity and modulation—hence why lyric sheets come in handy to fully appreciate the record....
Continue Reading at this Christian Music Review
At a glance … Define the Great Line not only redefines the sound of Underoath, but also has the potential of redefining the hardcore emo genre.
When you think about it, it's a small wonder that Underoath has enjoyed strong mainstream success so far. For one thing, they're an emo band at heart, in a market already oversaturated with whiny, heart-on-sleeve rock soundalikes. And then there's the matter of their faith, boldly proclaiming Christ from onstage—generally not something that will enhance any mainstream aspirations. So how exactly does a group like that gain acceptance in the secular market?
Hard to say. Much like Mae, here's a band whose videos and radio singles received virtually no airplay in the teen-rock outlets, yet still managed to outsell most of its peers. Moving well over 350,000 copies of their 2004 breakthrough They're Only Chasing Safety, Underoath has become the first true breakout act for the label's Solid State imprint, and one of the biggest success stories to rise from Seattle's Tooth & Nail ranks since MxPx and P.O.D. Moreover, only 20,000 of those CDs were sold in the Christian marketplace, which doesn't have the same craving for post-hardcore. (Lifeway bookstores reportedly refused to stock Underoath product.)
It's still too early to say if Underoath will truly become this generation's P.O.D., but one thing's for sure—their new album, Define the Great Line, has all the makings of a blockbuster effort, much like 2001's Satellite was for P.O.D. Co-produced by Atlanta-based producer/drummer Matt Goldman and Killswitch Engage guitarist Adam Dutkiewicz, Define the Great Line simply sounds huge, far removed from the tamer and thinner feel of its predecessor. Once recording wrapped, the disc was handed off to mixing guru Chris Lord-Alge, today's authority in mixing rock music. The results show.
Underoath's previous efforts rocked with propriety, sticking close to the formulaic confines of emo-core, with loads of monotonic screaming, scattered melodies, simplistic guitar riffs, and brutal pounding. This time, however, every component of the Underoath machine is amplified a hundredfold, as if to give rise to an all-new model of the band.
Frontman Spencer Chamberlain, for example, is no longer an indiscriminate, undecipherable yeller, but now a versatile vocalist, transitioning impeccably between feral shrieks, bestial growls, and melodic tones. As the newest member since the departure of Underoath's original vocalist, he seems more comfortable in his skin than ever before. Together with drummer Aaron Gillespie (he's the bona fide singer of the group), all vocal duties are handled seamlessly and with command. This being hardcore, it's still not all delivered with clarity and modulation—hence why lyric sheets come in handy to fully appreciate the record....
Continue Reading at this Christian Music Review
Underoath - They're Only Chasing Safety [ENHANCED]
Underoath's potential was truly tapped upon entering the studio with James Wisner (Dashboard Confessional, Further Seems Forever) to create their third studio release, "They're Only Chasing Safety," dropping June 15, 2004. The new vocals meld into what Underoath has been evolving to become for years: a cleaner, more direct heavy rock style avoiding any hardcore clichis they might have previously garnered. And with their innovative keyboard / electronic heavy base for the dynamic 10 song release, it's hard to imagine anyone penning Underoath with clichis at all. Still, fans of the previously metal-driven band may be in for a shock as catchy choruses and hooks dominate this release.
"If hardcore kids want to like us, that's awesome," McTague elaborates, "but we're not trying to impress them. And as far as kids saying we've sold out...kids like that just like to talk. They might be weirded out at first [by the new album], but hopefully it will catch on, but if not, who cares, you know?"
There's no doubt with infectious choruses on stand-out tracks like "Reinventing Your Exit," and "80's Song" along with the pure magnitude and passion of each track, that the songs will, in fact, catch on regardless of where the band's concerns lie. Still Underoath remains apathetic toward critics and will keep concentrating on what they know best: writing songs they like and playing shows relentlessly because that's what they love doing.
"Everyone is all about making things more marketable, receivable, accessible, and in turn have watered down everything from their faith to their struggles in life, and I think people need to start being real," McTague concludes. "Our goal is to write an album that changes music and impacts people in a huge way. I think we might start something with this record, but I think there is a lot more to uncover in the future...this is by far the closest we have ever come to that though." ....
Continue Reading at this Christian Music Review
"If hardcore kids want to like us, that's awesome," McTague elaborates, "but we're not trying to impress them. And as far as kids saying we've sold out...kids like that just like to talk. They might be weirded out at first [by the new album], but hopefully it will catch on, but if not, who cares, you know?"
There's no doubt with infectious choruses on stand-out tracks like "Reinventing Your Exit," and "80's Song" along with the pure magnitude and passion of each track, that the songs will, in fact, catch on regardless of where the band's concerns lie. Still Underoath remains apathetic toward critics and will keep concentrating on what they know best: writing songs they like and playing shows relentlessly because that's what they love doing.
"Everyone is all about making things more marketable, receivable, accessible, and in turn have watered down everything from their faith to their struggles in life, and I think people need to start being real," McTague concludes. "Our goal is to write an album that changes music and impacts people in a huge way. I think we might start something with this record, but I think there is a lot more to uncover in the future...this is by far the closest we have ever come to that though." ....
Continue Reading at this Christian Music Review
Underoath - The Changing Times (Solid State)
Sounds like … typical hardcore rock with minimal originality and variety.
At a Glance … in-your-face hard rock similar to Zao, Embodyment, and Blindside.
Hailing from Florida, the members of Underoath know what it's like to rock-and rock hard. The group has undergone a lineup change over the last few years, but the current conglomeration of six musicians is what's worked best while they play to local and regional crowds. The group is one of Solid State's most recent signings, but just because they're on a label doesn't mean Underoath has sold-out with their sound. They're pleased with the fact they have a company to stand behind them, but insist they've stuck to their indie-rock influences on their first-ever nationally distributed album, The Changing Times.
Although I can tell this group of young rockers is intent on making bold statements with their booming sound, I'm sorry to report that their first offering misses the mark. Since the album clocks in at under a half-hour in length and features only eight songs (five of which sound practically identical), it's hard for me to get a very high opinion of them. Also, their lyrics are very difficult to understand since the group's vocalist literally screams them indecipherably at the top of his lungs for the majority of the project. The fact that lyric sheets weren't available at press time didn't help matters either.
The Changing Times starts off with the chaos of "Letting Go of Tonight" and "A Message for Adrienne." Although it's impossible to tell exactly what that message is, there's no disputing the rollicking intensity. "Never Meant to Break" also features lyrical screams, which follow the patterns of Embodyment and Zao quite closely. However, this marks the first time on the disc where a slight diversion is made in the group's vigorous guitar slashes. The title cut has similar tendencies, but it slows down the backbeat and features occasional singing as opposed to constant shouting....
Continue Reading at this Christian Music Review
At a Glance … in-your-face hard rock similar to Zao, Embodyment, and Blindside.
Hailing from Florida, the members of Underoath know what it's like to rock-and rock hard. The group has undergone a lineup change over the last few years, but the current conglomeration of six musicians is what's worked best while they play to local and regional crowds. The group is one of Solid State's most recent signings, but just because they're on a label doesn't mean Underoath has sold-out with their sound. They're pleased with the fact they have a company to stand behind them, but insist they've stuck to their indie-rock influences on their first-ever nationally distributed album, The Changing Times.
Although I can tell this group of young rockers is intent on making bold statements with their booming sound, I'm sorry to report that their first offering misses the mark. Since the album clocks in at under a half-hour in length and features only eight songs (five of which sound practically identical), it's hard for me to get a very high opinion of them. Also, their lyrics are very difficult to understand since the group's vocalist literally screams them indecipherably at the top of his lungs for the majority of the project. The fact that lyric sheets weren't available at press time didn't help matters either.
The Changing Times starts off with the chaos of "Letting Go of Tonight" and "A Message for Adrienne." Although it's impossible to tell exactly what that message is, there's no disputing the rollicking intensity. "Never Meant to Break" also features lyrical screams, which follow the patterns of Embodyment and Zao quite closely. However, this marks the first time on the disc where a slight diversion is made in the group's vigorous guitar slashes. The title cut has similar tendencies, but it slows down the backbeat and features occasional singing as opposed to constant shouting....
Continue Reading at this Christian Music Review
Underoath debuts at #8, Slipknot drops to #5
Underoath's latest album, Lost In The Sound of Separation, has debuted on Billboard's Top 200 at #8. The album has sold 56, 246 copies of the album through Tooth and Nails/Solid State Records.
Slipknot has slipped to #5 in its' 2nd week of sales for its latest Roadrunnner Records album, All Hope is Gone. The album shipped over 75,000 copies in its second week of sales.
Christian Music News Source
Slipknot has slipped to #5 in its' 2nd week of sales for its latest Roadrunnner Records album, All Hope is Gone. The album shipped over 75,000 copies in its second week of sales.
Christian Music News Source
Underoath – Lost in the Sound of Separation Review
September 10, 2008 - The guys in Underoath have a little spring in their collective step that was not there just a short time ago. And rightfully so. After recording and releasing
their sixth studio album, they have good reason to be proud.
The band looked to be in full self-destruct mode after releasing their previous effort, Define the Great Line. They abandoned their summer tour midway through, rumors started
to circulate that the band was breaking up and lead singer Spencer Chamberlain was left to confront his inner demons. But the Florida-based post-hardcore band, each
member claiming Christian faith, seems to have channeled the inner peace associated with belief in God. Because the boys came back miraculously strong.
Lost in the Sound of Separation is one of those albums that is filled with songs that can stand independently, but when taken as a collective unit, are just that much better. This
is one of those albums that when hearing a song, even when you hear it in your head, eventually, your mind drifts to the next song on the album, and you end up singing that
song too.
It would be easy to go song by song and explain the virtues of each. After all, when an album captures its listener from beginning to end, that would be a logical way to review
the album. In fact, it is not going to be easy to talk about the album and not mention something about each and every song. Each one is really that good. But the point of this
review is to explain that Lost in the Sound of Separation is not a collection of songs per se. It is a single, cohesive unit that happens to break down sonically into 11 separate
intervals.
The band was able to effectively layer each and every tune so that it led almost perfectly into the next. For instance, the band starts off "The Only Survivor was Miraculously
Unharmed" with a hard-charging, in-your-face song that seems to emanate from the deepest and darkest parts of the band's collective psyche. Chamberlain calls on his most
guttural vocal track to date as the song heads into territories unknown. But mid-way through the song, sudden harmonies and backing vocals take over and the instruments
help build to a crescendo. The song suddenly ends as it hits a plateau and for a split second or two, the listener is left wondering what comes next. But with the start of "We
Are the Involuntary", the band quickly sets the listener at ease as they incorporate both elements of the previous song in the first few second. They then devolve into full-
blown post-hardcore screamo. And all is right with the universe again.
Likewise, the band seems to craft the perfect ending to the album. The 10th song on the album, "Too Bright to See, Too Loud to Hear" is the point where the band seems to
take the rage down a notch and starts alerting the listener that they are reaching the end. After one final spark of attitude late in the song, the band seamlessly pushes on into
the final song, "Desolate Earth: The End is Near", which takes the reverb sound effects from the end of "Too Bright" helps transition into a keyboard-based instrumental.
Underoath have definitely returned to form with this release, an album that takes the band's career to a new level. After six albums, the band has made what is arguably their
best complete effort to date. And that is really the key – the fact that the album is a complete unit. Building on past efforts has given the boys something to be proud of. It will be
fun to see if they can build on this effort, because the results of that would be something to hear.
Download Worthy:
1. "Anyone Can Dig a Hole But it Takes a Real Man to Call it Home"
2. "Emergency Broadcast: The End is Near"
3. "The Only Survivor was Miraculously Unharmed"
Christian Music News Source
their sixth studio album, they have good reason to be proud.
The band looked to be in full self-destruct mode after releasing their previous effort, Define the Great Line. They abandoned their summer tour midway through, rumors started
to circulate that the band was breaking up and lead singer Spencer Chamberlain was left to confront his inner demons. But the Florida-based post-hardcore band, each
member claiming Christian faith, seems to have channeled the inner peace associated with belief in God. Because the boys came back miraculously strong.
Lost in the Sound of Separation is one of those albums that is filled with songs that can stand independently, but when taken as a collective unit, are just that much better. This
is one of those albums that when hearing a song, even when you hear it in your head, eventually, your mind drifts to the next song on the album, and you end up singing that
song too.
It would be easy to go song by song and explain the virtues of each. After all, when an album captures its listener from beginning to end, that would be a logical way to review
the album. In fact, it is not going to be easy to talk about the album and not mention something about each and every song. Each one is really that good. But the point of this
review is to explain that Lost in the Sound of Separation is not a collection of songs per se. It is a single, cohesive unit that happens to break down sonically into 11 separate
intervals.
The band was able to effectively layer each and every tune so that it led almost perfectly into the next. For instance, the band starts off "The Only Survivor was Miraculously
Unharmed" with a hard-charging, in-your-face song that seems to emanate from the deepest and darkest parts of the band's collective psyche. Chamberlain calls on his most
guttural vocal track to date as the song heads into territories unknown. But mid-way through the song, sudden harmonies and backing vocals take over and the instruments
help build to a crescendo. The song suddenly ends as it hits a plateau and for a split second or two, the listener is left wondering what comes next. But with the start of "We
Are the Involuntary", the band quickly sets the listener at ease as they incorporate both elements of the previous song in the first few second. They then devolve into full-
blown post-hardcore screamo. And all is right with the universe again.
Likewise, the band seems to craft the perfect ending to the album. The 10th song on the album, "Too Bright to See, Too Loud to Hear" is the point where the band seems to
take the rage down a notch and starts alerting the listener that they are reaching the end. After one final spark of attitude late in the song, the band seamlessly pushes on into
the final song, "Desolate Earth: The End is Near", which takes the reverb sound effects from the end of "Too Bright" helps transition into a keyboard-based instrumental.
Underoath have definitely returned to form with this release, an album that takes the band's career to a new level. After six albums, the band has made what is arguably their
best complete effort to date. And that is really the key – the fact that the album is a complete unit. Building on past efforts has given the boys something to be proud of. It will be
fun to see if they can build on this effort, because the results of that would be something to hear.
Download Worthy:
1. "Anyone Can Dig a Hole But it Takes a Real Man to Call it Home"
2. "Emergency Broadcast: The End is Near"
3. "The Only Survivor was Miraculously Unharmed"
Christian Music News Source
INTERVIEW: Underoath
"God put us here to meet people and hang out", say the rockers with faith
CHRISTIAN metal. No, wait, come back!
Underoath's scorching progressions and eloquent garage thrash provide a welcome diversion from the well-worn hardcore metal crossroads.
And while proud of their beliefs, the sextet from Ocala, Florida aren't overly preachy.
"I think when you use the term religion it's different with everyone, each person has their own personal relationship with God", says drummer Aaron Gillespie, the band's
longest-serving member.
"Anyone of any race or ethnicity can have that. I believe what I believe, but I can't force that on anyone else. I can't spend my life judging people."
The band have enjoyed a slow, impressive rise since forming in 1998. Gillespie was recruited by former guitarist Luke Morton, who attended the same church.
"I've bene playing since I was about three – I grew up in church, watching the other guys who played drums and wanting to do what they did", Gillespie says.
He's the only remaining member of the Underoath who appeared on 1999 debut Act of Depression. Keyboardist Christopher Dudley joined for 2000's Cries Of The Past, and
bassist Grant Brandell's debut was 2002's The Changing Of Times.
But the Underoath today largely came into shape on breakthrough fourth record They're Only Chasing Safety, as former members fell away to be replaced by vocalist Spencer
Chamberlain, and guitarists Timothy McTague and James Smith. It was the first Underoath record to achieve a US chart placing.
Seemingly a dizzying array of line-up changes, although Gillespie's version of events suggests differently.
"Those were really just early incarnations, playing around in Florida. The full-time touring band has had the same line-up for about seven or eight years now", he says, and
we'll forgive him the exaggeration.
"Back then we were still figuring out who we wanted to play with. It's definitely not the same band now as when we started.
"The only thing that's really the same is we're still a Christian band, with the same goals."
New album Lost in the Sound of Separation hit the shelves on September 1, and the band have sold out Leeds Cockpit for their show there on September 13, which forms part
of an eight-date British tour.
"We've played twice before at the Cockpit", Gillespie recalls. "It's cool, we haven't been there in a long time.
"We've toured Britain four or five times now. I miss my wife really bad, and American food.
"I had a really hard time with the food and weather at first but I like it now. We played (festival] Give It A Name, and toured at the end of 2006 with Taking Back Sunday.
"We also did another tour with The Hurt Process, playing tiny bars. That was hard, with 21 of us in one bus! But the shows were fun."
Underoath's current globetrotting exploits are giving Gillespie more pleasure.
"This is the best tour we've ever done", he proclaims. "On this particular tour we're also going to South Africa, which is somewhere we've never been.
"We played in Mexico a few weeks ago as well which was a bit different."
Underoath's music is driven both by the music they grew up loving, and the spiritual influences which bind them together.
"Our belief is in everything in our every day life", Gillespie says. "We're all born-again Christians and we believe Jesus Christ died on the cross for our sins.
"I believe God put us here to meet people, hang out. Our lyrics all point back to Jesus, but they're about everyday struggles, relationships, meeting people."
Musically, Gillespie mentions (Swedish punk legends] Refused, and, perhaps oddly, Foo Fighters as major influences.
He describes the Underoath sound as "honest, real, loud, heavy, and fun", and argues that the band's new record sees them embracing a new ethos.
"I think it's heavier and more honest. It holds true to the Underoath sound, but it's more experimental.
"We did a lot of stereo drum tracking, and used different recording processes. It's becoming easier and easier to make records using computers!
"So we tried instead to give it more of the feel of a live band."
And how about his best moment in the band?
"Every night man, when you see people sing back to you", Gillespie says. "And when kids come to you and say the music has helped them."
Christian Music News Source
CHRISTIAN metal. No, wait, come back!
Underoath's scorching progressions and eloquent garage thrash provide a welcome diversion from the well-worn hardcore metal crossroads.
And while proud of their beliefs, the sextet from Ocala, Florida aren't overly preachy.
"I think when you use the term religion it's different with everyone, each person has their own personal relationship with God", says drummer Aaron Gillespie, the band's
longest-serving member.
"Anyone of any race or ethnicity can have that. I believe what I believe, but I can't force that on anyone else. I can't spend my life judging people."
The band have enjoyed a slow, impressive rise since forming in 1998. Gillespie was recruited by former guitarist Luke Morton, who attended the same church.
"I've bene playing since I was about three – I grew up in church, watching the other guys who played drums and wanting to do what they did", Gillespie says.
He's the only remaining member of the Underoath who appeared on 1999 debut Act of Depression. Keyboardist Christopher Dudley joined for 2000's Cries Of The Past, and
bassist Grant Brandell's debut was 2002's The Changing Of Times.
But the Underoath today largely came into shape on breakthrough fourth record They're Only Chasing Safety, as former members fell away to be replaced by vocalist Spencer
Chamberlain, and guitarists Timothy McTague and James Smith. It was the first Underoath record to achieve a US chart placing.
Seemingly a dizzying array of line-up changes, although Gillespie's version of events suggests differently.
"Those were really just early incarnations, playing around in Florida. The full-time touring band has had the same line-up for about seven or eight years now", he says, and
we'll forgive him the exaggeration.
"Back then we were still figuring out who we wanted to play with. It's definitely not the same band now as when we started.
"The only thing that's really the same is we're still a Christian band, with the same goals."
New album Lost in the Sound of Separation hit the shelves on September 1, and the band have sold out Leeds Cockpit for their show there on September 13, which forms part
of an eight-date British tour.
"We've played twice before at the Cockpit", Gillespie recalls. "It's cool, we haven't been there in a long time.
"We've toured Britain four or five times now. I miss my wife really bad, and American food.
"I had a really hard time with the food and weather at first but I like it now. We played (festival] Give It A Name, and toured at the end of 2006 with Taking Back Sunday.
"We also did another tour with The Hurt Process, playing tiny bars. That was hard, with 21 of us in one bus! But the shows were fun."
Underoath's current globetrotting exploits are giving Gillespie more pleasure.
"This is the best tour we've ever done", he proclaims. "On this particular tour we're also going to South Africa, which is somewhere we've never been.
"We played in Mexico a few weeks ago as well which was a bit different."
Underoath's music is driven both by the music they grew up loving, and the spiritual influences which bind them together.
"Our belief is in everything in our every day life", Gillespie says. "We're all born-again Christians and we believe Jesus Christ died on the cross for our sins.
"I believe God put us here to meet people, hang out. Our lyrics all point back to Jesus, but they're about everyday struggles, relationships, meeting people."
Musically, Gillespie mentions (Swedish punk legends] Refused, and, perhaps oddly, Foo Fighters as major influences.
He describes the Underoath sound as "honest, real, loud, heavy, and fun", and argues that the band's new record sees them embracing a new ethos.
"I think it's heavier and more honest. It holds true to the Underoath sound, but it's more experimental.
"We did a lot of stereo drum tracking, and used different recording processes. It's becoming easier and easier to make records using computers!
"So we tried instead to give it more of the feel of a live band."
And how about his best moment in the band?
"Every night man, when you see people sing back to you", Gillespie says. "And when kids come to you and say the music has helped them."
Christian Music News Source
Hope and positivity
With their debut full-length album nearing completion, their name proliferating throughout the South African hardcore music scene, and a tour with legendary American screamo outfit Underoath on the calendar, New Altum are riding the crest of the wave and are not about to let it slip.
Jonhenry Wilson chatted to vocalist Rasheed Ferguson, with drummer Nic Smal adding his two cents now and then...
Three years and a couple of months into your collective career, you've evolved quite a bit as a band. Tell us of this transition.
Rasheed Ferguson: I think the key word here is definitely ‘progression’. Through all the member changes, it could've been quite discouraging as a band but I think taking on those changes and embracing them has made us a lot stronger as a whole, just band chemistry-wise. I think we are now also more confident in playing the music we feel coming out of us naturally, as opposed to ‘writing for the crowds’.
Undoubtedly the highlight of your career, touring with Underoath must be a spectacular prospect. Tell us what’s going on in the New Altum camp in preparation for September?
Rasheed Ferguson: To be honest, it has been a rollercoaster of various trials and issues over this time period — sickness, finances and time constraints to name but a few. What we can say on a good note is that we have been writing some new material and if all goes well, we'll be 'busting it out' to the Underoath crowds as we launch our album as well. A lot of time has gone into preparing our debut album, in order for us to be able to tour with it on this life-impacting tour. A dream come true, to say the least.
Nic Smal: We are trying our hardest to get our album done in time for the tour. I just think it’s so great that Underoath are flying all this way to play on our album launch tour [laughs].
How did the stint supporting Underoath come about?
Rasheed Ferguson: Basically, Authentic Ideas just called us and said: ‘We've spoken to tons of people and they all said New Altum would be the perfect support band for the Underoath tour'. I paused for a bit and said ‘Underoath?!’
Your debut full-length album is almost ready for distribution to the masses. Will it be ready in time for the tour? And what can fans and the unschooled expect from it?
Rasheed Ferguson: It’s called ‘Grace Forbids a Hopeless Case’ and God-willing it will be ready, it is looking good at the moment. The album will be a mix of old and new songs for the old and new fans. We're pretty happy with the final mastered version, I think the biggest thing for us though is the fact that it’s going to be completed and we can now focus on writing a completely new set of songs. If people want to hear the old stuff they have a CD.
Nic Smal: People can expect an album with songs that range from the very first New Altum song ever written to the most recently written songs. It is definitely a mix, but a good representation of the growth and journey the band has gone through. Once it is out the process for the next album with entirely new songs will get put into motion.
Like Underoath, New Altum are a Christian act and have a message of hope and positivity to spread, a so-called difference to make. Explain…
Rasheed Ferguson: Yes, we are a Christian act and whether or not people believe ‘Christian’ to be a ‘style’ of music, we cannot separate it from what we do. Our Faith is the core of who we are and what we produce. People can take it how they want, it doesn't offend us in any way, but what we are promoting is positive and does carry an element of Hope, something that all of us can do with.
Your MySpace profile states you are out “to raise the standard of a humility versus rock star” attitude. Explain…
Rasheed Ferguson: We're not out there to tear apart the competition, have promiscuous sex, promote alcohol and drug addiction or curse from the stage. We're just normal guys who love music, love people, love hanging out and are trying to make a positive difference in this world by not trampling on people to get there.
New Altum are clearly cut from a different cloth in terms of onstage act, dressing ‘the part’, and branding for example. What’s the thought behind this?
Rasheed Ferguson: We just believe in excellence. People pay money for entertainment, so we don't want to rip anyone off. We try our best to be as professional as we can be but we still have a lot to learn, but it’s good to know that people do notice and appreciate it.
The tired question that has to be asked in every local interview: What’s your view on South Africa’s music scene?
Rasheed Ferguson: The moment there is so-called ‘competition’, you've already lost. The SA scene is interesting to say the least, the only thing I have to say is that people should try be a bit more open-minded when it comes to what is played on the radio. Otherwise, to the bands out there, keep writing the music that comes out of you and stay true to that.
Five men of different backgrounds, dissimilar schedules and diverse musical interests all attempting to progress as a unit — this must prove tricky at times. How do you guys go about handling in-house differences?
Rasheed Ferguson: We beat each other with steel poles and he who is still standing at the end has the final say. Sometimes we have a meeting and sort out our issues, then 'high five' each other and move on.
Nic Smal: Rob [Shaw, bassist] and myself settle our differences by shouting lame comments at each other. Usually, I will criticise his ginger-coloured hair and he will struggle for a comeback quip, leaving me one up.
You get to share the stage at an intimate, 1000-strong club show with three international acts. Which trio would you choose and why?
Rasheed Ferguson: Thrice, Underoath, Muse: passion, conviction and pure brilliance.
Nic Smal: I always answered this question with ‘Underoath’, purely because they just rock so hard and have such an awesome stage presence. Then, for similar reasons Norma Jean, and MeWithoutYou.
Finally. Sum New Altum up in three succinct phrases.
Rasheed Ferguson: Passionate and strangely Progressive.
Christian Music News Source
Jonhenry Wilson chatted to vocalist Rasheed Ferguson, with drummer Nic Smal adding his two cents now and then...
Three years and a couple of months into your collective career, you've evolved quite a bit as a band. Tell us of this transition.
Rasheed Ferguson: I think the key word here is definitely ‘progression’. Through all the member changes, it could've been quite discouraging as a band but I think taking on those changes and embracing them has made us a lot stronger as a whole, just band chemistry-wise. I think we are now also more confident in playing the music we feel coming out of us naturally, as opposed to ‘writing for the crowds’.
Undoubtedly the highlight of your career, touring with Underoath must be a spectacular prospect. Tell us what’s going on in the New Altum camp in preparation for September?
Rasheed Ferguson: To be honest, it has been a rollercoaster of various trials and issues over this time period — sickness, finances and time constraints to name but a few. What we can say on a good note is that we have been writing some new material and if all goes well, we'll be 'busting it out' to the Underoath crowds as we launch our album as well. A lot of time has gone into preparing our debut album, in order for us to be able to tour with it on this life-impacting tour. A dream come true, to say the least.
Nic Smal: We are trying our hardest to get our album done in time for the tour. I just think it’s so great that Underoath are flying all this way to play on our album launch tour [laughs].
How did the stint supporting Underoath come about?
Rasheed Ferguson: Basically, Authentic Ideas just called us and said: ‘We've spoken to tons of people and they all said New Altum would be the perfect support band for the Underoath tour'. I paused for a bit and said ‘Underoath?!’
Your debut full-length album is almost ready for distribution to the masses. Will it be ready in time for the tour? And what can fans and the unschooled expect from it?
Rasheed Ferguson: It’s called ‘Grace Forbids a Hopeless Case’ and God-willing it will be ready, it is looking good at the moment. The album will be a mix of old and new songs for the old and new fans. We're pretty happy with the final mastered version, I think the biggest thing for us though is the fact that it’s going to be completed and we can now focus on writing a completely new set of songs. If people want to hear the old stuff they have a CD.
Nic Smal: People can expect an album with songs that range from the very first New Altum song ever written to the most recently written songs. It is definitely a mix, but a good representation of the growth and journey the band has gone through. Once it is out the process for the next album with entirely new songs will get put into motion.
Like Underoath, New Altum are a Christian act and have a message of hope and positivity to spread, a so-called difference to make. Explain…
Rasheed Ferguson: Yes, we are a Christian act and whether or not people believe ‘Christian’ to be a ‘style’ of music, we cannot separate it from what we do. Our Faith is the core of who we are and what we produce. People can take it how they want, it doesn't offend us in any way, but what we are promoting is positive and does carry an element of Hope, something that all of us can do with.
Your MySpace profile states you are out “to raise the standard of a humility versus rock star” attitude. Explain…
Rasheed Ferguson: We're not out there to tear apart the competition, have promiscuous sex, promote alcohol and drug addiction or curse from the stage. We're just normal guys who love music, love people, love hanging out and are trying to make a positive difference in this world by not trampling on people to get there.
New Altum are clearly cut from a different cloth in terms of onstage act, dressing ‘the part’, and branding for example. What’s the thought behind this?
Rasheed Ferguson: We just believe in excellence. People pay money for entertainment, so we don't want to rip anyone off. We try our best to be as professional as we can be but we still have a lot to learn, but it’s good to know that people do notice and appreciate it.
The tired question that has to be asked in every local interview: What’s your view on South Africa’s music scene?
Rasheed Ferguson: The moment there is so-called ‘competition’, you've already lost. The SA scene is interesting to say the least, the only thing I have to say is that people should try be a bit more open-minded when it comes to what is played on the radio. Otherwise, to the bands out there, keep writing the music that comes out of you and stay true to that.
Five men of different backgrounds, dissimilar schedules and diverse musical interests all attempting to progress as a unit — this must prove tricky at times. How do you guys go about handling in-house differences?
Rasheed Ferguson: We beat each other with steel poles and he who is still standing at the end has the final say. Sometimes we have a meeting and sort out our issues, then 'high five' each other and move on.
Nic Smal: Rob [Shaw, bassist] and myself settle our differences by shouting lame comments at each other. Usually, I will criticise his ginger-coloured hair and he will struggle for a comeback quip, leaving me one up.
You get to share the stage at an intimate, 1000-strong club show with three international acts. Which trio would you choose and why?
Rasheed Ferguson: Thrice, Underoath, Muse: passion, conviction and pure brilliance.
Nic Smal: I always answered this question with ‘Underoath’, purely because they just rock so hard and have such an awesome stage presence. Then, for similar reasons Norma Jean, and MeWithoutYou.
Finally. Sum New Altum up in three succinct phrases.
Rasheed Ferguson: Passionate and strangely Progressive.
Christian Music News Source
Underoath rocks new album, sound
From the outset of the Christian metal group Underoath's latest album Lost in the Sound of Separation, it is easy to see that this is not the same band that brought They're Only
Chasing Safety to the world in 2004.
Since then, life under a constant spotlight, as well as highly publicized personal problems within the band has led its members to delve introspectively and come up with two of
the most uncompromising albums of their long career: first Define the Great Line and now Lost in the Sound of Separation.
Whereas Define the Great Line was a bit more experimental, Lost in the Sound of Separation comes at the audience much more straightforwardly. Defining their metal-core
sound with vocals of Spencer Chamberlain, they have come back to their roots in a raw and powerful way.
The boys of Underoath combine a ferocious and almost punk sensibility into the opening track "Breathing in a New Mentality." Its driving rhythm and slashing guitars set the
standard for the record, which was slated to be "heavier and darker" than anything we have seen from the Florida sextet in the past.
Breakdown-heavy tracks like "We Are the Involuntary," "Coming Down is Calming Down" and "The End is Near" magnify the intensity of the record and amplify the lyrical cries
of Chamberlain, asking desperately for salvation.
Midway through the second song of the album, listeners get a change of pace as the soaring vocals of drummer and singer Aaron Gillespie take over. Fans of Chamberlin's
more melodic sound should have nothing to fear though - Lost in the Sound of Separation does not abandon that at all.
In fact, some of the tracks that stand out the most such as "A Fault Line A Fault of Mine" and "Desperate Times, Desperate Measures" have sing-along choruses exchanging
Chamberlain's screaming with Gillespie's fine-tuned vocal abilities.
The main success of Lost in the Sound of Separation and a regular feature of Underoath releases, is that the group strings the entire album together; each song bleeding into
the next, convincingly creating one track that is split into 11 different parts.
Even the final two songs of the album, which are completely dissimilar from the others in terms of style, blend well with the intricate instrumental work of Tim McTague (guitar),
Grant Brandell (bass), James Smith (guitar), and Chris Dudley (keyboard and synthesizers).
Underoath has another successful album in Lost in the Sound of Separation that will only leave fans wanting more.
Christian Music News Source
Chasing Safety to the world in 2004.
Since then, life under a constant spotlight, as well as highly publicized personal problems within the band has led its members to delve introspectively and come up with two of
the most uncompromising albums of their long career: first Define the Great Line and now Lost in the Sound of Separation.
Whereas Define the Great Line was a bit more experimental, Lost in the Sound of Separation comes at the audience much more straightforwardly. Defining their metal-core
sound with vocals of Spencer Chamberlain, they have come back to their roots in a raw and powerful way.
The boys of Underoath combine a ferocious and almost punk sensibility into the opening track "Breathing in a New Mentality." Its driving rhythm and slashing guitars set the
standard for the record, which was slated to be "heavier and darker" than anything we have seen from the Florida sextet in the past.
Breakdown-heavy tracks like "We Are the Involuntary," "Coming Down is Calming Down" and "The End is Near" magnify the intensity of the record and amplify the lyrical cries
of Chamberlain, asking desperately for salvation.
Midway through the second song of the album, listeners get a change of pace as the soaring vocals of drummer and singer Aaron Gillespie take over. Fans of Chamberlin's
more melodic sound should have nothing to fear though - Lost in the Sound of Separation does not abandon that at all.
In fact, some of the tracks that stand out the most such as "A Fault Line A Fault of Mine" and "Desperate Times, Desperate Measures" have sing-along choruses exchanging
Chamberlain's screaming with Gillespie's fine-tuned vocal abilities.
The main success of Lost in the Sound of Separation and a regular feature of Underoath releases, is that the group strings the entire album together; each song bleeding into
the next, convincingly creating one track that is split into 11 different parts.
Even the final two songs of the album, which are completely dissimilar from the others in terms of style, blend well with the intricate instrumental work of Tim McTague (guitar),
Grant Brandell (bass), James Smith (guitar), and Chris Dudley (keyboard and synthesizers).
Underoath has another successful album in Lost in the Sound of Separation that will only leave fans wanting more.
Christian Music News Source
Members
Current
* Spencer Chamberlain - screamed vocals, additional guitars (2003–present)
* Timothy McTague – lead guitar, backing vocals (2001–present)
* James Smith – rhythm guitar (2003–present)
* Christopher Dudley – keyboards/synthesizers (2000–present)
* Grant Brandell - bass guitar (2002–present)
* Aaron Gillespie - drums, clean vocals (1998–present)
Former
* Dallas Taliaferro Taylor – screamed vocals (1998–2003) (currently in Maylene and the Sons of Disaster)
* Simon Corey Steger – rhythm guitar, backing vocals (1998–2000), lead guitar, backing vocals (2001)
* Luke Morton – lead guitar (1998–1999)
* Ray Anasco – bass guitar (1998–1999)
* Octavio Fernandez – rhythm guitar (1999–2002) (currently in At the Wake)[46]
* Matthew Clark – bass guitar (1998–2000) (currently in Maylene and the Sons of Disaster and Kicked Out Heel Drag)[47]
* Billy Nottke – bass guitar (2000–2002)
* Kelly Scott Nunn – rhythm guitar (2002–2003) (currently in Maylene and the Sons of Disaster)
* Anthony Bagby;- lead guitar (2000-2005) (currently in Haste the Day)
Album personnel appearances
Christian Music Links!
* Spencer Chamberlain - screamed vocals, additional guitars (2003–present)
* Timothy McTague – lead guitar, backing vocals (2001–present)
* James Smith – rhythm guitar (2003–present)
* Christopher Dudley – keyboards/synthesizers (2000–present)
* Grant Brandell - bass guitar (2002–present)
* Aaron Gillespie - drums, clean vocals (1998–present)
Former
* Dallas Taliaferro Taylor – screamed vocals (1998–2003) (currently in Maylene and the Sons of Disaster)
* Simon Corey Steger – rhythm guitar, backing vocals (1998–2000), lead guitar, backing vocals (2001)
* Luke Morton – lead guitar (1998–1999)
* Ray Anasco – bass guitar (1998–1999)
* Octavio Fernandez – rhythm guitar (1999–2002) (currently in At the Wake)[46]
* Matthew Clark – bass guitar (1998–2000) (currently in Maylene and the Sons of Disaster and Kicked Out Heel Drag)[47]
* Billy Nottke – bass guitar (2000–2002)
* Kelly Scott Nunn – rhythm guitar (2002–2003) (currently in Maylene and the Sons of Disaster)
* Anthony Bagby;- lead guitar (2000-2005) (currently in Haste the Day)
Album personnel appearances
| Member | Album | Instrument | |||||
|---|---|---|---|---|---|---|---|
| Act of Depression | Cries of the Past | The Changing of Times | They're Only Chasing Safety | Define the Great Line | Lost in the Sound of Separation | ||
| Spencer Chamberlain |  | | |  | | | Screamed vocals/Low growls |
| Timothy McTague | | | | | | | Lead guitar/ backing vocals |
| James Smith | | | | | | | Rhythm guitar |
| Christopher Dudley | | | | | | | Keyboards/ synthesizers |
| Grant Brandell | | | | | | | Bass guitar |
| Aaron Gillespie | | | | | | | Drums/ clean vocals |
| Dallas Taylor | | | | | | | Screamed/ growled vocals |
| Corey Steger | | | | | | | Lead guitar/ backing vocals |
| Anthony Bagby | | | | | | | Lead guitar/ clean vocals |
| Luke Morton | (Left before recording) | | | | | | Lead guitar |
| Octavio Fernandez | | | | | | | Rhythm guitar/ bass guitar |
Christian Music Links!
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