ChampsMusic said: Bring on more beechdude reviews.

dathvada said: A track by track would be much appreciated if you feel up to it!

Since several of you asked for it, here’s some track-by-track thoughts on the album as I continue to work on my full review!“It Has to Start Somewhere”: This really is a fantastic introduction to this “rebirth” of the band, a great meeting point between old and new. I often find that promotional descriptions of songs are hyperbolic, and the description in my promo materials that this track “burns like a rail dragster achieving top speed before hurling itself straight into the sun” had me rolling my eyes at first… but honestly I think that’s a great mental image for the song. Opening with intense drumming from Aaron and a killer Underoath riff, the mood is immediately set when Spencer passionately sings “If my tongue is the blade/Then your hand is the gun/One of us ain’t going home tonight”. Driven by of his best vocal performances on the album, this is a clear highlight.This song manages to capture a lot of the “spirit” of old Underoath while still containing several key differences, such as a greater emphasis on clean vocals and more polished production. It does exactly what an opening track needs to do for an album like this, which is to start things on a high note, and get the listener in the right mindset for what’s to come.“Rapture”: This track has obviously been very polarizing, but I remain firmly in the camp of those who think it’s a great mainstream rock song, and as a single is likely to expand the band’s following into a new generation. The chorus melody got stuck in my head immediately after my first listen, and I think there’s enough depth here instrumentally and compositionally to set this above most of the dominant bands making this kind of accessible rock music right now. The post-chorus and bridge, in particular, really elevate the song and make it a more memorable listen, which I think sets up a recurring theme of the album… frequent sonic nuances and details that push it to the next level.I’d also like to note that it’s already clear at this point that this album flows extremely well. “Rapture” is led into perfectly by the end of “It Has to Start Somewhere”, and going from the end of this song to “On My Teeth” also feels very natural. The band has managed to sequence the album in a way that makes the large diversity of sounds on display feel like a natural progression.“On My Teeth”: Now that I’ve heard the whole album, I think that this was a fantastic lead single choice. The buildup of drums and synths, leading to that explosive first verse and Spencer’s distinctive screams, was a great re-introduction after years of no new Underoath music. Obviously Aaron’s drumming is a clear highlight here, and his call-and-response vocals with Spencer in the chorus are pretty reminiscent of some classic Underoath tracks. If there’s one complaint that I think a number of old-school fans of the band will have of the album as a whole, it’s that Aaron’s vocals are used very sparingly throughout, far less than on his other albums with Spencer. That’s sure to be a polarizing choice, but personally I think having Spencer be the dominant vocalist makes sense on this album, and lends it a greater consistency. We’ve all analyzed this song to death, so I’ll move on.“Wake Me”: Probably the most pop-oriented song on the album, although there’s a fair amount of competition for that title. Along with “Rapture”, this is the other song with no screamed vocals whatsoever. The verses are focused around a simple keyboard melody from Chris, and wouldn’t feel out of place on alternative rock radio. Dealing with a crisis of religious faith, the chorus is accompanied by some catchy backing vocals that feel very different from anything you’ve heard from this band before. This is sure to be a polarizing track, and will likely be a future single. Personally I’m a fan, and am impressed that these guys are able to attempt something so outside their traditional wheelhouse and pull it off in a way that feels natural.“Bloodlust”: This one has grown on me, but I still don’t think it’s a standout. The verses here are actually very cool and minimalistic, with some cool synth work and vocal repetition. However, I agree with Jason that they are underserved by the “hard rock” chorus, which is overly simplistic without being exceptionally memorable. The “soft-loud-soft” dynamic on display here is done better elsewhere, including on other songs on the album. I think the cool guitar work in the bridge elevates the song somewhat, and I still enjoy it overall, but if I had to pick this is probably my least favorite on the album.“Sink With You”: From my least favorite on the album… to my favorite! This song just has a great sense of mood and atmosphere throughout, which is something this band has always excelled at. Once the main riff starts, with Spencer bellowing “THIS IS MY EMERGENCY”, my adrenaline kicks in every time. Even though this is one of the heavier songs on the record, it still features some very prominent synthesizers from Chris, and I think when the band fully embraces heavily electronic-tinged metalcore on this and other tracks on the album, it’s a *very* enjoyable sound from them. The breakdown at the end of the song will get your blood pumping, and I really hope they play this one during their upcoming tour, it’ll be a great live track.“ihateit”: Another (mostly) alternative-leaning track, this one is a rock ballad about Spencer’s struggles with addiction. Once again very minimalistic in the verses, which are driven largely by Chris’ synth work and a simple guitar melody. I was skeptical of this song at first, but Spencer’s emotion really sells the delivery and makes another song that’s extremely different from this band work in the larger context of the album. The bridge is what really pushes the song to the next level, but I’ll leave that one as a surprise for when you guys hear it.“Hold Your Breath”: Like the opening track, this one strikes a fantastic balance between old and new Underoath, with pounding drums and swirling guitars accentuating one of Spencer’s finest vocal performances on the album. Alternating between great screams, shouts, and cleans, Spencer really drives this one home as one of the most passionate tracks on the album. I think this or “It Has to Start Somewhere” could’ve been “safer” pre-release single choices if the label wanted to avoid fan backlash, because I can see most old Underoath fans really enjoying both of them.“No Frame”: This one’s probably my close second favorite currently, right behind “Sink With You”. The very first track from this album that we got a small taste of, this is the most electronic-driven song on the whole album and is the peak of the band’s ability on the album to build atmosphere. Very slow-building and moody for most of the track with some haunting vocals, but when the heaviness finally kicks in, it’s well worth the wait. Another great example of electronic-driven metalcore, and of something I couldn’t see the band trying to this extent on any of their previous albums.“In Motion”: Rapid-fire vocals, alternating from screams to cleans, drive this track’s verses as it builds to a very hooky chorus. Definitely one of the catchiest high-energy songs on the album, and Spencer’s very personal lyrics once again tackle themes of addiction and forgiveness. I think this is another song that effectively strikes a balance between old and new, with aggressive, driving guitars in the verses leading to a more “stadium rock” sound in the chorus. The passionate screams of “There is no fix” are a great way to end the track, and lead us into the closer.“I Gave Up”: Led by a deeply emotional vocal performance by Spencer, the slow-building closing track returns to the album’s recurring theme of addiction for a final time, closing out the album on a truly haunting note. Primarily driven by piano and synth for its first half, the song undergoes a really thrilling transition into a more high-energy rock section, led by passionate belted singing from Spencer, before crashing back down and leading the album into a subdued finish.Overall I’m still really enjoying the album on repeat listens, and finding new things to appreciate each time. I definitely have some critiques, which I’ll expand more in my full review, but I think despite how polarizing this album is certain to be, it’s a great comeback for this band, showcasing new sides of their sound while still feeling like Underoath. I think if you’re able to keep an open mind, you’re likely to find much to like here.