Song: April RainArtist: Delain
From the Album: April Rain
Size: 32.15 MB
Format: WMV
Composer: Wessels/Westerholt
Label: Roadrunner Records
Year: 2009
Band: Delain
On 2006 Define the Great Line proved to be a turning point for faith based, Post-Hardcore/Screamo outfit Underoath. While the tendency to dissolve into the abyss of angtsy Emo-Pop was still there, there was a darkness lurking in the nooks and crannies between the crackling snare hits and heavy "drop-d" riffing that hinted at a little pre-evolution, a notion that comes to fruition with their sixth studio record and fourth for Solid State (the metal subdivision of Tooth & Nail Records). Lost in the Sound of Separation gets off to a rocky start with its two most forgettable songs, "Breathing in a New Mentality" and "Anyone Can Dig a Hole But It Takes a Real Man to Call It Home," both of which are big, loud, mean, monotonous, and virtually interchangeable with any other formulaic "loud, quiet, scream, loud, quiet, scream" alt metal tune. However, it doesn't take long for Separation to rescue itself from painfully serious, aggro-MTV mediocrity, as those two tracks are quickly followed up by the riveting "A Fault Line, A Fault of Mine" and "Emergency Broadcast: The End Is Near," two slightly experimental, highly melodic cuts (make that four, as "Too Bright to See Too Loud to Hear" and near instrumental closer "Desolate Earth: The End Is Near" are mini masterpieces of hope and anguish) that not only signal growth for the Florida ensemble, but deliver on the dark promises that haunted Define the Great Line, exposing a more mature, post-apocalyptic nightmare that manages to give equal time to both loss and redemption, declaring allegiance to neither.
This live CD/DVD combo leans heavily on material from 2006 Define the Great Line. A good amount of material from their earlier releases as well shows their progress as a band, all to the tune of Spence Chamberlain thunderous vocal assault. If there is anything to say about the band live show after being a mainstay on the Warped Tour, it's that their relentless energy swirls to a peak on-stage. The set list is a good introduction for new listeners, and the capturing of the live experience also makes this a must have for fans.
In the good old days, most rock home videos (we're talking pre DVD, remember that era?) were either solely comprised of a live show or a collection of a group's promo videos, But somewhere along the line, bands got wise to the fact that combining both together, and adding interviews and behind the scenes bits, made for more interesting viewing. A fine example of this potpourri approach is the first ever DVD release by Underoath, 777 (whose release date comes mighty close to being 7/7/7 July 17, 2007). Featuring footage shot during several different tours around the globe, you get close up looks of the band signing autographs and meeting fans, all the videos from 2006's breakthrough Define the Great Line, a "making of documentary" for the "You're Ever So Inviting" clip, and oh yes, also live footage (including a "Myspace Secret Show"), which confirms that the group is quite an energetic bunch of lads on stage. If you're a loud and proud admirer of Underoath, then 777 will make for some mighty fine viewing.
This is the DVD you can download in 3 parts all in Mediafire, the content basically is the same except for the last 3 songs
Screamo/Metalcore Warped Tour mainstays Underoath expand their sonic palettes on the blistering and occasionally majestic Define the Great Line, a mammoth production that exemplifies how far Christian metal has come since the days of Stryper and Bloodgood. On their third full-length release, the Florida-based rockers have found the delicate middle ground between throat-shredding grindcore and My Chemical Romance, From Autumn to Ashes-style Emo-Punk, utilizing the highly flexible voice of Spencer Chamberlain as a compass for both melody and cacophony. Define the Great Line is bookended by its best cuts, the rousing "In Regards to Myself" and the epic closer, "To Whom It May Concern." Both exemplify the group's newfound confidence in the studio and introduce a real progressive bent to both the production and the overall arrangements. While Underoath explore their faith with both reverence (the monastic "Salmarnir") and suspicion ("There Could Be Nothing After This"), something that sets them apart from the polarizing righteousness of many CCM acts, their crossover potential remains huge, as the prevailing themes of isolation, anger, introspection, and the quest for self-confidence are universal
Band: Underoath
Whether you describe this type of alternative rock as Screamo, Post-Hardcore, or Melodic Hardcore, albums like They're Only Chasing Safety are all about contrasts, heaven contrasting with hell, melody contrasting with sledgehammer brutality, "normal" singing (whatever "normal" is) contrasting with tortured, agonized, death all over your face screaming. This Screamo, Post-Hardcore, Melodic Hardcore approach is quite different from full-fledged metalcore; while metalcore units like Hatebreed, Brick Bath, and Finland's notoriously ferocious Rotten Sound go right for the jugular, Underoath and similar bands prefer to mix honey with vinegar. Overall, the Tampa, residents do a decent job of integrating the honey and the vinegar on They're Only Chasing Safety, which is their first album since Spencer Chamberlain replaced Dallas Taylor as lead singer. After Taylor's departure in 2003, some fans had strong reservations about Underoath carrying on without him. But Chamberlain has no problem taking over the lead vocalist spot on this 2004 release, and he seems to have a firm grasp of the sort of good cop, bad cop and heaven, hell contrasts that characterize a screamo disc like They're Only Chasing Safety. Of course, the screamo aesthetic is hardly unique to Underoath; anyone who has spent time listening to Nora, From Autumn to Ashes, Hopesfall, or School for Heroes will see the parallels between Underoath and those bands. But lyrically, one thing that separates Underoath from other screamo outfits is their Christian orientation. Not that the Floridians beat listeners over the head with Christianity, if anything, their Christian references are subliminal on this CD, which explains why secular audiences have been receptive to them. They're Only Chasing Safety is mildly uneven, some of the tunes hold up better than others, but more often that not, it's a respectable outing from this post-Taylor edition of Underoath.
Underoath stands at the heavy metal crossroads on Changing of the Times, a hardcore album that parallels classic arena rock. Though vocalist Dallas Taylor spits out dark lyrics of doom and gloom ("The romance has been dead for years, But I've been afraid to dig the grave" from "When the Sun Sleeps") with a screeching, screaming delivery, keyboardist Christopher Dudley's orchestral textures soften the blow with anthemic melodies and intriguing counterpoint. Dueling guitarists Tim McTague and Octavio Fernandez forsake solos for static rhythmic patterns, arpeggios, and linear melodies as drummer Aaron Gillespie affords lush multi-tracked backing vocals that cushion Taylor's histrionic tales of mayhem and distress with fond harmonies. "A Message for Adrienne" unearths a deep-rooted punk affinity via spoken word snippets that sound as if Johnny Rotten wandered into the studio. The title track, like many of the cuts, bemoans the loss of a relationship with manic angst. If Taylor ever opts to sing in full voice, Underoath has the ability to emerge from the underground with modern rock hitmaking potential. This collection is for hardcore genre fans only and is not necessarily a bad choice.
Band: Underoath
In 2002, Takehold licensed all of its bands and releases to Seattle's Tooth & Nail/Solid State label. Underoath hit the studio and recorded the ten songs that would comprise their first album under the new partnership, appropriately titled The Changing of Times. Taylor abruptly left the group in the middle of 2003's Warped Tour, leaving distressed fans contemplating the band's uncertain future. Underoath, which also included bassist Grant Brandell and guitarist James Smith, continued on, however, enlisting ex-This Runs Through member Spencer Chamberlain as their new vocalist.
A year later, the new lineup released They're Only Chasing Safety and supported it on the road with bands like Thrice, the Bled, Hopesfall, and Fear Before the March of Flames. A special edition of the album was next released in fall 2005 that included four bonus tracks; touring continued with a spring 2006 headlining tour alongside Poison the Well, As Cities Burn, and others. Deciding to stick with Tooth & Nail instead of jumping to a major label, the sextet showcased substantial growth and maturity on their next effort, Define the Great Line, issued in June 2006.
A heavier, more emotional album than the breakout success of 2004 Chasing Safety, the record sold close to 100,000 copies in just its first week of release and was certified gold by the years end. Embraced by fans and critics alike and considered the band's masterpiece by many, the group supported it on Warped's main stage that summer. But with a month of dates remaining, tensions within Underoath's ranks suddenly came to a head, causing them to drop off the traveling festival. Rumors swirled of their impending breakup, but the guys remained adamant that a much-needed break was merely due to sort things out. They proved themselves by returning in 2006 with Define the Great Line. Climbing all the way to number two, the album became the highest-charting Christian album on the Billboard 200 since 1997 when LeAnn Rimes took the number one spot with You Light Up My Life. Underoath returned to the studio in 2008 for Lost in the Sound of Separation, an 11-song behemoth of a record that saw the group adopt a darker, more experimental (yet still undeniably heavy) sound.
Band: Cry of the Afflicted
Band: Of Machines
Band: A Day to Remember
New Disk Rod Stewart he continues his journey through the back pages of pop-rock, which dips and gives a 360° change in the Gender Deep Soul, making a kind of tribute to the era of soul in Motown and all those great songs of Soul still in heavy rotation on the radio. Oldies that well into the new millennium remained in memory. Songs like the Sam Cooke's "Wonderful World" and a version of Jackie Wilson's "(Your Love Keeps Lifting Me) Higher and Higher very good version and a duet Jennifer Hudson. An album that's not really metal, but never come amiss expand musical horizons.
Senses Fail continue to explore the three way intersection between Post-Hardcore, Screamo, and Punk-Pop with their third album. Musically and lyrically, Life Is Not a Waiting Room furthers the dichotomies that helped fuel the band's previous work: heaven and hell, muscle and melody, depression and emotional uplift. There's also a good deal of harmony here, from the dual guitar solos of Garrett Zablocki and Heath Saraceno to the band's use of vocal harmonies. While Senses Fail have always resisted the urge to tone down their Hardcore tendencies in favor of a more commercial approach, Life Is Not a Waiting Room still features some surprisingly melodic moments, from "Yellow Angels" a ballad that concludes with fist pumping gang vocals to the anthemic "Garden State." The band draws parallels to Further Seems Forever during such moments, where they flaunt their pop inflected songwriting skills without losing the might that fuels the group's harder songs. Longtime listeners can rest assured that those harder songs haven't been left behind, as tracks like "Lungs Like Gallows" and "Wolves at the Door" find room for rusty throated screams and double kickdrum thunder. Nonetheless, the band shows the bulk of its growth when melody is emphasized.
The year 2006 found many of Senses Fail's pals taking decisive steps toward transformation. As the genre became clogged past its breaking point, everyone involved suddenly wanted to break free from an Emo/Screamo tag by altering their sonic approach. Consequently, it's a bit surprising that for their sophomore effort, Senses Fail has instead embraced the original sound that gained them attention in the first place; it's even more unexpected considering guitarist Heath Saraceno (of Midtown fame) is now counted in their ranks, since his experience could have easily taken the guys in a totally new direction. But this decision absolutely works out for them. Still Searching is like 2004's Let It Enfold You, but two years older, tighter, fuller, and more honest. The focus here is more on tense emo rock with a hard pop edge than scream-bloody-murder screamo, since there is less emphasis on screaming, yet the music remains wholly Senses Fail. Fans will appreciate the band's rejection of a drastic makeover to instead to churn out a hugely solid set of songs blasted with fist pumping choruses, crashing dynamics, swirling guitars, and gang vocals galore. And thankfully, the guttural shrieks are more purposefully integrated and less like crutches to fall back on. There's no denying the strength of bigger tracks like "Can't Be Saved" (though it resembles 2004's "Buried a Lie") and the invigorating title track, the latter relying heavily on rousing gang vocals, while the anguished yet calming suicide leap of "The Priest and the Matador" brings Buddy Nielsen's vulnerability to the forefront. Nielsen's lyrics are distraught throughout, but instead of killing exes (there are surprisingly few breakup songs this time around), he explores the personal. Suffering from severe anxiety surrounding this record, his agitated words overwhelmingly explore ideas of self-doubt, loss of faith, and disillusionment, to the point that when he sings "My life is better than it ever was" on "To All the Crowded Rooms," it's hard to tell if he's making a statement or trying to convince himself of such. Despite being one of its scene's bigger names, Senses Fail has still always been pretty interchangeable with the rest. But seeing as Still Searching is much stronger an album than their successful 2004 debut, it really has the potential to finally help Senses Fail stand heads above the pack if only for staying true to what it is they do best. [The 2007 reissue adds 6 bonus tracks and a DVD containing tour footage.]
Band: Senses Fail
The Screamo Melodic Hardcore Post-Hardcore field was undeniably crowded at the end of the 90's, and it became even more crowded in the early 2000 a time that saw the rise of countless screamo bands in the United States. One of them was Senses Fail, whose first full length album, Let It Enfold You, is full of the swirling guitars, introspective lyrics and clean vocals screaming vocals contrast that screamo bands are known for. Screamo, theoretically, is meant to serve as a bridge between hardcore and emo; some screamo units have a metallic urgency and end up sounding more hardcore than emo, whereas with Senses Fail, it's just the opposite. Let It Enfold You is really an emo disc that incorporates some screaming. The clean vocals definitely have the upper hand, and these New Jersey residents are consistently pop minded. Take away the screaming vocals, and Senses Fail wouldn't be radically different from Jimmy Eat World, Good Charlotte or the Promise Ring. Of course, there are numerous other screamo bands doing this type of thing, bands that favor an Emo/Hardcore blend and end up sounding a lot more emo than Hardcore. And on Let It Enfold You, Senses Fail doesn't bring anything new or different to the table; originality isn't a high priority on this album. Nonetheless, most of their material is catchy enough "Lady in a Blue Dress" is arguably the CD's best song, and Senses Fail does have a knack for coming up with intriguing song titles, for example, "The Irony of Dying on Your Birthday," "NJ Falls Into the Atlantic" and "Rum Is for Drinking, Not for Burning." Neither the best nor the worst that screamo has to offer, this CD isn't remarkable but is a generally competent, if derivative, effort from the New Jersey outfit.