#Underøath Dallas

[themusicenthusiast]

Album Review: ‘Erase Me’ by Underøath

Metalcore. Post-hardcore. Whatever you want to label Underoath, there’s no denying that they rose through the ranks of the genre(s) they fit in to become a definitive voice of it, helping establish a gold standard for it and being inimitable in the process. Their breakup was inevitable, just as it is for any band – certain to happen sooner or later. The same could be said of the reunion tour that brought them back to the stage throughout 2016 and 2017. But just what kind of implications would the Rebirth Tour have? Was it simply a way for Spencer Chamberlain, Aaron Gillespie, Tim McTague, Chris Dudley, Grant Brandell, and James Smith to reunite and savor the past one last time before laying Underoath to rest for good? Or would that word “rebirth” become more symbolic than any fan would dare hope for? After all, with now eight years having passed since their last album, new music from the acclaimed group seemed destined to be nothing more than wishful thinking. And then came the announcement of Erase Me.

Set for release on April 6th (and out via Fearless Records), it will be the boldest collection of songs to date from Underoath, who abandoned their former way of thinking when it came to penning this new music. “That’s not Underoath enough,” Chamberlain has been quoted as saying, that being their previous criteria when crafting music. Unshackled by it, they have become free to let the music take them where it may instead of working to achieve one specific sound. That has allowed the six-piece outfit to grow and expand as both individuals and a collective. The result may be surprising to some longtime fans, and others may be unreceptive to it all together. However, even if the mindsets have evolved and the styles have progressed, the eleven new songs that comprise Erase Me aren’t a complete departure from Underoath’s roots. That’s demonstrated with the lead track, “It Has To Start Somewhere”. Some melodic chords to get it underway, it quickly hits the ground running. “If my tongue is the blade, then your hand is the gun. One of us ain’t going home tonight!” Spencer Chamberlain loudly proclaims, making it sound like a threat, his voice complementing that intro as he clearly enunciates the words. Nothing on Erase Me may be the same type of heavy as stuff from Underoath’s past, though they compensate for that with a newfound sense of intensity and urgency, that first track thrusting the listener right in the midst of the beautiful and elegant chaos. Chamberlain frequently taps into his heavier abilities as a vocalist, guttural screams punctuating the desperate cries that are the choruses. The percussion is the clear driving force behind “It Has To Start Somewhere”, Gillespie’s drumming being merciless and adding immensely to the ferocity of the track. A full throttle song that has a no-holds-barred approach, lyrically it establishes a thread that will be a common one for the duration of the album. They haven’t changed their approach to writing songs in that regard, this one hinting at a lack of self-worth while also alluding to subjects like substance abuse and dependency and the desire to be something more than what you currently are. The two singles released in advance of Erase Me come in rapid succession, as Underoath hastily works to fully captivate the listener. It works, “Rapture” standing not just as one of the strongest tracks on the record, but one of the best of the band’s career. If any song is deserving of representing this new era, it is that one. It marks a foray more into hard rock or alt-metal territory, the group excelling at it. Dudley’s work on the keys is more prominent on the riff-centric number that features a gorgeous lull and an impassioned delivery from Chamberlain as they continue to delve into a toxic relationship. Be it with or person or personifying a substance. By the time the third song, “On My Teeth”, is finished, Underoath has the listener hook, line and sinker. No matter how many times fans may have already listened to what was the lead single, in the context of the full album it’s presented in a different light. After the previous songs, it strikes one as being more vehement and aggressive than ever, proving that Chamberlain, Gillespie, McTague, Dudley, Brandell, and Smith are still in touch with their brash side. It’s stunning, the way the guitars, bass, drums and keys coalesce, such as how the heaviest beats are timed perfectly with the loudest of the vicious screams, enhancing the overall impact. In absolute control and evoking their earlier years, the six of them demonstrate pure mastery over the heavy and devastating track that is tinged with metalcore elements, making it the most blistering song that Erase Me has to offer. An unflinching and self-reflective look at the creature a person has become, “ihateit” is easily the most personal and emotional song found on Erase Me. It’s abounding with phenomenal lines, like the regret-filled “…Somehow, I fell back into habits that tear me apart. I never got to say I’m sorry…” or the chorus, “You’re the only thing that gets me high and I hate it!” and the second verse, “I’m tangled up in my own image, but I hate who’s staring back at me,” both of which are drenched in self-loathing. Chamberlain very much sounds like a person who despises what they are, going on to admit being a user of not just things but people, disgusted by those personal actions. It ebbs and flows spectacularly, building from something serene that is behooving of the self-reflective nature of the track to a monstrous piece, the seething anger seeping through at every turn, symbolic of self-hatred that is being experienced. “ihateit” is a shining example of how powerful a song can be when everything is done in a full concerted manner. The lyrics and the music work in perfect harmony with one another, the vocalist working overtime to ensure every nuanced emotion is articulately expressed. In this instance that results in a grand scope for a song whose magnitude is off the charts. Fans may perceive other songs as being different, though the only truly offbeat one is “No Frame”. It’s a venture into, of all things, electronica, hints of rock eventually being worked into it. Ambient and dystopian, it is, without question, uncharted territory for Underoath. Heavy on the keys and with some synthesizers brought into the mix, it is totally experimental by their standards. Surprisingly, as out of their realm as it may be, they pull it off magnificently. Another song with an immaculate flow, the guitars, drums and bass are slowly layered atop everything, culminating in an epic counterbalance to the otherwise atmospheric tone and at times effects-laden, soupy vocals. One could view “No Frame” as being outside of Underoath’s wheelhouse, as it is. It could also be viewed as them expanding their wheelhouse and exploring some intriguing and profound new depths that further revitalize them. Plenty of other excellent offerings also adorn Erase Me, further fleshing out the story that helps tie everything together, ultimately reaching a thrilling conclusion; the album as a whole having somewhat of a cinematic flare to it. It may not be as overt as some artists make it, but it’s present, every song in one way or another circling back to that theme of dependency, concluding with a track that admits the ways a person has failed themselves and those that care for them, asking for a hand in helping them on the road to recovery. That’s one of the most engrossing components of Erase Me. There’s a larger story driving everything, one that the musicians are wholly invested in and one that is apt to resonate with a lot of people. Perhaps not every song, but many are certain to connect with one or two on a personal level. Now, that’s not meant to undercut what the six of them have accomplished in the musical realm with Erase Me, either. This is Underoath making an attempt at longevity. Their legacy always will be intact or would have been had a reunion not been in the cards. Despite what the title may suggest, Erase Me isn’t trying to negate that at all. Rather, it’s more about starting anew. Getting a blank slate so that embarking on a different path is easier. Something that’s applicable to a life journey every bit as much as it is a musical one. Erase Me is the product of a mature and refined Underoath, but honestly, it isn’t as radically different as some may consider it to be. The band has been perpetually evolving since day one, every album bringing something new to the table. The only thing different now is that they’ve embraced the maturity that comes with age and allowed that to be reflected in their music, no longer chasing after one specific sound. But don’t think for a minute that they have sacrificed their edge because of that. This record has it all. It’s daring and dangerous. Violent yet serene. Mournful and angry. It incorporates some fantastic lulls that add to the enormity of the emotions that are woven together throughout it. There is some familiarity to the music, segments being a bit radio friendly, yet it all still sounds new and different. It’s also worth noting that Erase Me is practically a complete separation (for the band as a unit) from the faith that was so crucial to them early on. Nevertheless, several of the songs could still be construed as having some subtle Christian undertones. The beautiful thing about that is that it’s left completely up to the listener to discern. If you want to read into it in that way, that’s fine. It’s also just as easy to listen to the songs and not even be aware of such possible connotation. In the end, Erase Me is Underoath s biggest move to date. Chamberlain, Gillespie, McTague, Dudley, Brandell, and Smith boldly blaze new paths while still honoring the evolutionary steps that got them to where they are. The excitement generated from that creative revival shows, the band carrying themselves with a more determined and energetic spirit than ever on what isn’t just a definitive record but a crowning achievement of an already stellar career. From front to back this album in an enthralling listening experience without a single weak spot to be pinpointed. And as varied as it may be, no track sounding quite the same, it’s remarkably cohesive. There’s something to be found on it that will satisfy old fans, along with some material that’s sure to win over new listeners. Just give Erase Me a few listens and this latest step in Underoath’s career is sure to charm you. Pre-order Erase Me on: iTunes | Google Play | Amazon MP3 Visit Underoath’s websites: Official Website | Facebook | Instagram | Twitter Current Shows: 2018 April 20--Downtown Las Vegas Events Center--Las Vegas, NV 27--Metropolitan Park--Jacksonville, FL 28--Markham Park--Sunrise, FL 30--Iron City Bham--Birmingham, AL May 1--Georgia Theatre--Athens, GA 3--The Mill & Mine--Knoxville, TN 4--Rock City Campgrounds at Charlotte Motor Speedway--Charlotte, NC 5--Phase 2 Dining & Entertainment--Lynchburg, VA 6--Sands Bethlehem Event Center--Bethlehem, PA 8--Rams Head Live--Baltimore, MD 9--The Dome at Oakdale--Wallingford, CT 11--Fete Music Hall--Providence, RI 12--The Rapids Theatre--Niagara Falls, NY 14--Wooly's Des--Moines, IA 15--Pop's NightClub & Concert Venue--Sauget, IL 16--Piere's Entertainment Center--Fort Wayne, IN 18--MAPFRE Stadium--Columbus, OH 19--Manchester Music Hall--Lexington, KY 20--Gillioz Theatre--Springfield, MO 22--Concrete Street Amphitheater--Corpus Christi, TX 23--White Oak Music Hall--Houston, TX 24--Bomb Factory--Dallas, TX 25--iHeartMedia Metroplex--Little Rock, AR 26—Rocklahoma--Pryor, OK June 2--Kansas Speedway--Kansas City, MO 15--BA217--Paris, France 16—Melkweg--Amsterdam, Netherlands 18--Kulturzentrum Schlachthof--Wiesbaden, Germany 19--Zona Roveri Music Factory--Bologna, Italy 20--Magazzini Generali--Milan, Italy 22—Eichenring--Scheessel, Germany 22--Take-Off Park--Neuhausen Ob Eck, Germany 23—Stenehei--Dessel, Belgium 24--Take-Off Park--Neuhausen Ob Eck, Germany 24—Eichenring--Scheessel, Germany 26--Dürer Kert--Budapest, Hungary 28--Panenský Týnec--Prague, Czech Republic 29--Caja Magica--Madrid, Spain 30--Agrobaan 15--Ysselsteyn, Netherlands July 12--Country Fest--Cadott, WI 13—Oshkosh--Oshkosh, WI 14--Country Fest--Cadott, WI 16--KeyBank Pavilion--Burgettstown, PA 17--Budweiser Stage--Toronto, Canada 18--Blossom Music Center--Cuyahoga Falls, OH 28--Parc Jean-Drapeau--Montréal, Canada 29--Darling's Waterfront Pavilion--Bangor, ME August 24--Little John's Farm--Reading, United Kingdom 25--Bramham Park--Leeds, United Kingdom