Disco de Underoath: “Define the Great Line”

only chasing saftey (the previous record) was decent but it was way to screamo and poppy. Here, they go back towards more of their old sound of metal. The vocals have improved greatly, sometimes getting deep throated. THe guitars have a great crunch with some killer riffs. It's just totally sounds like a different band. If you don't like underoath or hated their last cd, then give this one a shot. It's one of the best albums of the year.

Underoath. Wow. Started as a little annoying metalcore outfit, turned into a little annoying screamo pop band, and then morphed into THIS Underoath. Bombastic, tense, mass produced, and ready to turn the music world upside down. This is honestly probably the most unique music will get for quite some time.

Underoath is a hardcore band. They are emo dudes, no denying it. But it hurts me to say those things, seeing as they are a hundred times better than the rest of the run of the mill screamo acts. Emo kids, tell me I'm wrong, that Underoath ISN'T the band to change the hardcore and quite possibly the entire music scene forever. Some people seem to think that whiny bands like Sky Eats Airplane, or SKSK, or Emarosa, or even ALESANA(kill me now)are better than Underoath. Tee hee. Opinions are opinions, but my opinion is that those opinions are idiotical.

I like breaking this album down into two parts: aggressive and atmospheric. In Regards to Myself opens with an uppercut to the chin, flatout rocking all over the place to begin the record. A Moment Suspended in Time and There Could Be Nothing After This venture straight into prog-rock territory, providing two of the best chops on the album.

You're Ever so Inviting provides the first of two alt-radio ready songs, Writing on the Walls is the other. They are still so much more experimental than most other stuff out there, but for UO they provide a break from the pounding atmosphere. Moving for the Sake of Motion is another rock-hard number, displaying the twin guitar heroics from Tim and James like never before.

Casting Such a Thin Shadow and To Whom it May Concern are rousing experimental numbers that illustrate a softer side of Underoath. That's not saying that turmoil doesn't erupt in the latter parts of the two songs. Salmanir is little more than an intro to the rest of the album, and it features spoken Latin and electronic fizzles from keyboardist Chris Dudley.

Everone looks so Good From Here is the hardest track on the album, along with Returning Empty Handed. They are pure onslaughts of power, backed primarily from Spencer's ferocious vocals, Aaron's spastic drumming, and Grant's thudding basslines.

There is not enough ways to describe how good this album is, it's like trying to explain dark matter. DTGL must be heard to be believed or understood. LITSOS should be even better, and it really is an exciting time, given that UO has now officially graduated from being a standard screamo band to the most unique band out there today. All music fans should give this album a shot. If you don't enjoy it, I must apologize for your feeble mind not being able to grasp the magnitude of this mammoth.

*The future of hardcore was set back in 2006, when this amazing album hit stores. UO has proven themselves to be better than Norma Jean, Alexisonfire, Saosin, Killswitch Engage, or just about any similarly styled band out there. They are not a genre. They are Underoath. Not to mention there isn't a better live show out there.

Define the Great Line is a solid metalcore release that manages to, if not totally shatter the conventions of its genre, at least twist them to its own advantage. This is a polished album, with the production and songwriting putting it near the top of its genre--with an album like this, it's no surprise that Underoath is gaining a good amount of popularity in hardcore circles.

The album starts with a solid guitar riff and a deep scream from vocalist Spencer Chamberlain--"Wake up, wake up! My God! This is not a test..." Though it's not the best song on the album, lacking some of the momentum and flow other tracks achieve, this opening ("In Regards to Myself") sets the pace for the rest of the album. This isn't all good, unfortunately. The song, like the rest of the album, suffers from lyrics that are often vague and uninspiring. It's plain that the song is a call to let go of some addiction, but there really isn't anything particularly deep in the lyrics--"Pull yourself together, man" might make a rousing battle cry, but it's not quite the smart use of language I'd hope for in the lyrics, and the other lines aren't much better. Later songs in the album are downright incoherent in their ramblings. (True, difficult lyrics are acceptable sometimes, especially in songs that are extremely deep, but Underoath's lyrics, neither deep nor greatly original, have no excuse for their knottiness.) By the album's end, "To Whom It May Concern", the album has picked up its optimistic, Christian message, but by then it's a little late. The album's sound, full of beautiful instrumental sections and memorable melodies pushed next to heavy power-chord-filled riffs, is unmistakably emotional, but the lyrics hide the source of the emotions in nearly incomprehensible messes of words.

Nonetheless, there's a lot to like in this record. Underoath isn't afraid to put long instrumental sections in their album, and thanks to them, the album takes on an emotional atmosphere that mere power-chord-heavy riffs wouldn't by themselves produce. The melodies are catchy and sound far more interesting than the clean vox sections you'll find in many other metalcore releases. In fact, the sheer craftsmanship of the album is very impressive--overlapping guitars, keyboard, and vocals create a sophisticated, layered sound. Through all this, you get an album that, despite being nothing earth-shattering in originality or heart-rending in its emotions, is quite fascinating and even (at points) rather moving. Fans of metalcore or heavy music in general should give this a try.

In the time since the sensational "They're Only Chasing Safety" was released, Underoath have been selling out shows and records like madmen. The cult following the band brings about with their energetic belligerence is anything but unstoppable; and when the band made a surprise move to stay locked into Tooth And Nail Records (despite bigger offerings), it's no surprise Tooth And Nail were stoked.

Leading up to this release, the hype's been building much like the whirling, dark sand in their promo videos. Ominous advertisements, simply displaying a ticking clock, have been plastered all over the Internet--and even in Downtown LA I witnessed several black posters with the `Oath logo plastered on the walls. And, when a plane bearing the news that the album is to be released was spotted at this year's Columbus Warped Tour stop, it's no secret: there's a lot of hype behind this album.

It might be too obvious of me to state, simply, that the hype for this album was anything short of dead-on--and, at moments, I myself was even a bit skeptical about `Define' blowing `Safety' out of the water. When the band's first choice was, oddly, to put "Salmarnir," the torrential interlude, up, my heart dropped with a sense of disappointment.

Now, though, "Define The Great Line," is in my hands, and I've no doubt that this album powerfully redefines Underoath (excuse the pun). Moving beyond the blistering anthemics found on tracks like "Reinventing Your Exit" and "A Boy Brushed Red...," "Define The Great Line" is a screamy, messy, and violent record that's vigorous and exciting.

The only discretion I've had with Underoath's live show is that, as one might expect, singer and drummer Aaron Gillespie's dual duty is a bit difficult to perfectly render. As if the band knew it was an issue, Gillespie makes a noticeably quick and short appearance on many of the tracks--though songs like the very Safety-esque "Writing On The Walls" deals out the usual scream/sing combo, most of the time singer Spencer Chamberlain is found shrieking and screaming, often putting out what must be his utmost intensity.

Sonically, thanks to the dual production efforts from Matt Goldman (Copeland, Cartel) and Adam Dutkiwicz (guitarist for Killswitch Engage), "Define The Great Line" blurs the production between new and old. It's got plenty of moments that exhibit modern and cutting-edge recording capabilities, filled with drum machines and noisy, loud, radio-ready guitars and vocals. However, it still retains a raw, unpolished sense of noisy, sustaining guitars. In other words, as would be expected, it sounds stunning.

And while most of the people in the mass market might not react too well to this noisy, rocking change of direction in Underoath, one can only expect that their current fanbase will be utterly impressed--instead of taking advantage of their soaring record sales and diehard fan sect, Underoath wrote and made a record that sounds completely the way they wanted it to sound. It might sound cliché in today's terms to say a band's stayed true to their roots--but Underoath did just that, writing noisy, blazing hardcore songs with dark, heavy guitar textures and screaming--and they did it because they wanted to.

I think what I love most about this record is the fact that the band's obvious nature to crossover into two different genres with "They're Only Chasing Safety" is delicately retained--yes, fans of catchy, sing-a-long choruses and hooky choruses will find moments they love on "Define." But, at the same time, fans of heavy, destructive metal and hard rock will love the moments of sheer energy exhibited by the band--and will likely be able to look past the high-pitched wailing of Gillespie.

Perhaps Chamberlain puts it best on "Moving For The Sake Of Motion"--"Brace yourself!!!" "Define The Great Line" isn't for the weary, though by the end you feel like you've been beaten up. I am not even slightly reluctant to say this record will be topping the "Best Of" charts come 2007.

The quality of this album exceeds 5 stars. Anyone ranking lower simply doesn't enjoy the album, and perhaps that is the more important thing. In order for you to enjoy this album, you must really love great metal vocals. Spencer Chamberlain belts out the most wicked, brutal, epically spine-tingling growls I have ever heard. The production is bar-none and makes you feel as if Spencer is sitting right by you screaming into your ears. If you are not one that enjoys this, buyer beware. But if you seek such a thing, this album is for you.

Aside from the vocals, the music is incredible! There is nothing that comes close to this quality of music in today's metalcore scene. Nothing about the album is cheesy. It is fresh, original, and utterly superb. The drum-work is mind blowing. The guitar-work is excellent. The songwriting is perhaps as perfect as it gets in music. But, if you are looking for catchy choruses and feel-good sing-alongs then turn away now. Such an Underoath album would be They're Only Chasing Safety (which is also great, but very different). Define the Great Line is darker, meaner, and stronger.

Absolutely, Undeniably, Inextricably Epic.