CD Review: Underoath's Define The Great Line

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, 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.