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
Tuesday, September 30, 2008
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!
Subscribe to:
Comments (Atom)
