DBL cranks the volume for his first Buttonhole review!
Publisher: Solid State
Mon, 17 October 2005
by: Darth Bin Laden
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Members:
Tim McTague - Guitar
Chris Dudley - Keyboard
Aaron Gillespie - Drums; Vocals
Spencer Chamberlain - Vocals
Grant Brandell - Bass
James Smith - Guitar
With their first release in 1998, Underøath quickly set up a faithful following underground as a melodic death metal band with its own sound. Then along came They're Only Chasing Safety. Whilst interwoven with its older sound, the roster changes (most notably their lead vocalist and guitarist) give a new line up but a more indifferent sound.
Background info aside, may I just say that I am a huge fan of this band and this album. I enjoy this album because I am a fan the screamo sound that is found on the album. What underøath does right, while being considered sellout by their hardcore fans, is create an album that shows that they aren't trying to create their old sound from the days of Dallas Taylor (vocals) and Corey Steger (guitar). They're Only Chasing Safety may not be The Changing of Times, but it more than holds its own.
The album opens with Young And Aspiring. This song sets the tone for the CD and also shows what direction Underøath have taken with their sound. Its not the heaviest song on the album, or the softest, but it is by far average. The verses see Chamberlain take charge, while Gillespie provides the melodic sound in the chorus. The verse/chorus structure is maintained except for the song's most brilliant moment in perhaps what you would normally call a bridge, although underøath are rarely about normal song structure. The instruments play heavy as Chamberlain screams through to the end, until the song fades out. This fade-out leads into A Boy Brushed Red...Living In Black And White. This song contrasts Young And Aspiring in that it features melodic punk verses and screamed choruses. The guitar is excellent again in this song, and a heavy drum beat sees you nodding your head through the end of another track.
Impact Of Reason is a bit of a letdown from the previous tracks. It's not bad, just not fantastic. The lyrics are slightly repetitive, and it has the same scream-verse melodic-chorus structure that was already heard in Young And Aspiring. What the song does right though is the bridge, as Chamberlain almost sounds like he is gasping for air as he sings. Reinventing Your Exit opens with a catchy guitar riff and drum beat, and vocals gives us a strained melodic sound, that seems like someone wants to start screaming, but doesn't. Then Chamberlain comes in and provides background vocals through the song. The song seems all too pop-screamo for its own good until Chamberlain takes control after the first chorus. A catchy instrumental winds down into a very melodic finish of the track.
The Blue Note could be considered no more than an instrumental filler track, but it is far from filler in my opinion. The mellow haunting sound and bluesy drum beat lulls the listener into a false sense of security, and at times you expect Chamberlain to break in screaming, but instead, are left with nothing.
Then Its Dangerous Business Walking Out Your Front Door kicks in. The bands newer sound is captured completely in this song, and Chamberlain opens with the screaming you were waiting for during The Blue Note, accompanied by guitars, synthesizer and a drum beat, whilst not overly complex or dramatic, drives the verses. The song is highlighted by an undoubtedly catchy chorus as Gillespie sings "My knuckles have turned to white/There's no turning back tonight/So kiss me one last time". Most will find themselves singing along by the second chorus. The song then breaks into a techno-drum beat, into an a cappella choir singing "Drowning in my sleep I'm drowning in my sleep". Chamberlain kicks in with screaming, and a heavy instrumental replaces joins in and leads into the final chorus. Its Dangerous Business Walking Out Your Front Door is a song that new fans will embrace, but old fans will despise. Personally, I love it.
And then its back into the album sound. Down, Set, Go sees Chamberlain take charge of the song, with Gillespie again taking control of a catchy, melodic chorus. Back-and-forth screaming action continues until the bridge, where we are not hit with a heavily distorted instrumental, but rather an acoustic one. An acoustic guitar accompanies Gillespie's high melodic voice. Chamberlain eventually takes control, and takes the song out once more. I Don't Feel Very Receptive Today is the heaviest track on the album and a favourite amongst hardcore fans. Most reminiscent of the older underøath sound, the track is brilliant. Chamberlain owns this song like Microsoft owns the free world, with an iron fist and no remorse. He breaks into a melodic tone once during the whole song, and it sounds more like a gasp for air than anything else. The end seems to take you on a head bangers ball, but cuts short and the track mellows with a haunting sound in the last few seconds.
I'm Content With Losing has a dull introduction. Many people like this song, I am not really one of them. Its not that it's a terrible song, its just that I heard this back at the start of the album, and it does nothing new for me. Especially after Its Dangerous Business and I Don't Feel, this track feels out of place, and begs the question that perhaps it is no more than filler. Which would be sad, as this album is only 36 minutes long, and totals 10 tracks. The one thing this song does right is a catchy guitar riff, and a punchier finish than earlier tracks. They are about the only things that keep me from skipping this track.
Some Seek Forgiveness, Others Escape rounds out the album with a complete and total curve ball. Down, Set, Go previewed an acoustic sound, but Some Seek embraces it. Acoustic guitar and a mellow riff are the main features of the instrumental, and Gillespie takes the song into his hands with his melodic vocals, which completely contrast anything Chamberlain has sung, especially I Don't Feel. Chamberlain does come in though, at the emotional peak of the song as Gillespie sings "Jesus, I'm ready to come home", to a very appropriate distorted instrumental backing. If I didn't already have foreknowledge, you wouldn't know underøath were a Christian band until this song. For those of you who disagree with that particular spiritual belief, do not let it deter you from this song or the band. The song is an excellent ballad nonetheless, a highlight of the album and a totally unexpected way to finish the album. Brilliant.
This is not by any means a perfect CD. Some may find it repetitive, and it is a niche sound. Its not heavy enough for even the mainstreamed metal community, and too heavy for the mainstream punk community. It lands in a melodic metal genre of sorts, but nonetheless it lands on its feet. The only things keeping this song from a perfect score are the lack of any story within the album (all great albums tell a story) and a somewhat repetitive track mix. If you aren't a hardcore metal purist (Troby, I'm looking at you) get this album. You won't be disappointed.
You can find underøath news at www.underoath777.com
Recommended Tracks:
Young and Aspiring
It's Dangerous Business Walking Out Your Front Door
Down, Set, Go
I Don't Feel Very Receptive Today
Some Seek Forgiveness, Others Escape
by: Darth Bin Laden
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More articles by Darth Bin Laden
They're Only Chasing Safety is brilliant, but falls short of perfection. The way most of us fall short of, well, you know. Fazz | |
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