Define the Great Line
- Thursday, June 01, 2006
- In Regards to Myself
- A Moment Suspended in Time
- There Could Be Nothing After This
- You're Ever So Inviting
- Returning Empty Handed
- Casting Such a Thin Shadow
- Moving for the Sake of Motion
- Writing on the Walls
- Everyone Looks So Good From Here
- To Whom It May Concern
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
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,
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
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