Lost in the Sound of Separation

You'll hate this if you hate post-hardcore, metalcore, and the kind of music that appeals to your most poppy sensibilities. That's a given fact, as the inert drumming and dabs of keyboard / programmed filler (ala Kid A Radiohead at times) wash over dejected riffing, abundant bass grooves, and clean harmonies. Things spike with lots dependency toward wall-of-sound guitar lines and some post / progressive bearing that don't have much direction anyway. "We Are The Involuntary" is a perfect example of this blend of noise / metallic-influenced post-hardcore that falls out of its own formula and becomes quite accessible sounding alternative rock. That's the worst case scenario, but the album's full of misdirection and issues with flow. Songs are typically short but stagger as they attempt to make their way through their attempts at composing with their influences and the pop sound the band latched onto years before.

The music sounds squeaky clean with digital overtones thrown in throughout. The blend of post-hardcore and alternative / metalcore basks in such polished production. There are only hints of gritty atmosphere and harsh distortion. These opposites can balance, and Underoath were the closest in years to regaining that equilibrium. However, Gillespie was still the leading band member, providing his skimpy and undulating drumming and pubertal clean singing. His vocals are annoyingly catchy at best and nauseatingly revolting at worst. Some songs like the opener and the closer don't even feature his vocals, while others have minimal use as both types of songs opt for discordant soundscapes and intensity over hooks.

Nonetheless, Gillespie's singing exists primarily for hook purposes, taking away lead prowess (a stretch in itself) from the guitar leads and from Chamberlain's duties and potential. Chamberlain's ability to scream with measurable callousness and sing (by post-hardcore standards) with teenage angst at least go hand in hand (and relatively aren't as grating). Songs like the opener, "Emergency Broadcast :: The End Is Near," and "The Only Survivor..." follow his lead in a way that hits closer to the jarring post-hardcore the band would find themselves doing properly on the next album. What Chamberlain himself accomplishes here (appropriately showing vocal authority) is also carried over onto Ø (Disambiguation) with more vigor and roughness.

Not to disregard this point, but this album can be my worst enemy or moderately enjoyable given the mood. Ultimately however, Lost In The Sound Of Separation failed in being legitimately heavy and profound for its respective genre. The band tried very, very hard to be thoughtful, catchy, and preachy. Unlike the album following this, the music here got a little strained overall and too forced at times. The signs of a genuine post-hardcore album aimed to be significant, and would have been primary given a couple of major changes. Thankfully, those changes were undertaken for Ø (Disambiguation) (and it showed enough to be more than listenable).

I had listened to clips of this album last year, and decided not to buy it, as it seemed like a step down to me. Well, I finally just got the album... so was I right to be wary? To some extent, yes, for the album is indeed a step down from their last album, Define the Great Line. The album has turned out much better than I thought it'd be, however, And I should say that this is actually as close to a previous album as Underoath have done, as they've spent their whole careers evolving with each new release (often with several new members). With this one, though, you get basically what you got with Define the Great Line, only the highs aren't as high, and the lows are lower.

The main problem with the album is the lack of discernable riffs, such that you sometimes have that "wall of sound" effect going on. Every once in a while one of the unorthodox riffs of Underoath shines through, but this doesn't happen as much as one might hope. This is definitely not the fault of the production, which is terrific on this album, but simply reflects the approach Underoath take with their guitar work. The producers and David Bendeth (mixing) did a good job on this album, which (whatever you might think of the actual music) sounds fantastic. As for the bass, it is audible throughout the album, and even quite prominent in the mix at certain points.

Aaron's back with the clean singing, while Spencer is back with the screams. Well, except that Spencer does that part talking/part screaming stuff sometimes. One review I read of this album said that Aaron is getting worse with each release, but I don't think that's a fair judgment. I'd say that they are at about the same level or competency as they've had over the past few albums. With Underoath vocals it's almost always a case of either loving them or hating them for most people, but I'm one of the rare few who fall in the middle: I don't mind them, but I don't love them either. Every once in a while they come up with something that really hits the mark, though usually it just sounds like typical screaming to me.

So, to sum up, while this album doesn't quite reach the heights of Defline the Great Line, it's still a solid release. Certainly worth buying if you're into the genre, or like the band (I know, not likely around here).