They're Only Chasing Safety

Once upon time there was a band called Underoath, they were playing the heaviest metalcore around. One day got tired and decided to shift away. And so, they lived happily ever after. End of the story.

If we have a look upon the year of this release, it dates back to 2004, once back when every single band on this planet was playing post-hardcore. There was post-hardcore, emo, and pop punk literally everywhere: in pubs, bars, supermarkets, hospitals, as elevator music, in discos, at rave parties, funerals, weddings... you were turning on the radio, the tv, and there were always these emo-screamo-pop punk bands on every single channel; even cartoons, talk shows or news had post-hardcore and pop punk songs as soundtrack or theme song (not joking! eg. Maximum the Hormone), as well as there was absolutely no videogame without, at least, a song of this style (From first to last, Billy Talent). So this genre has been the soundtrack of a decade, that - luckily, thank God - has passed away. Were Underoath following the trend? Were they "chasing more profits" in the same way as "they (I suppose the Government) were chasing safety at the time"? (curious fact, that the cover art and album title were prophetical of the 2020's pandemic). Probably. Who knows?

If they were sucking at the time, they were however doing it in a proper manner. Because, compared to the sea of shit in which we were suffocating once back when labels were devastating our ears with that shit, this album is excellent. This isn't absolutely Cries of the past, but at least is not Lostprophets or Thursday, because Underoath are talented and there's difference between wasting talent or not having it at all.

May ask why that vote, the reason is simple: this album is a giant sculpture covered in bird's shit, still standing over the decades, resisting to the recurrent vandalism, but still singing of its time like Today. They started for sure a chapter in their career, they've pursued a new path, and the fact that this album drives nuts the most orthodox metalheads, makes this even more enjoyable. I don't really care if this isn't "true" at all, if they are "posers", if they aren't part of the "scene", because there's nothing worse than pursuing a label, especially from a generation who has bitched and whined for a long-time for being labelled or put under categories. Music and creativity have no boundaries, and this fascist manichaeism is absolutely detrimental. So I kindly welcome and appreciate those bands who have the courage to explore new territories and start new adventure, like Ulver or Manes.

This album was made to his era accordingly, with a far better production of most albums of this wave. The solutions are interesting, melodies are catchy, it's clearly commercial but undeniably a step above the works of their colleagues. Let's stick to the fact others were copying their homework, because Underoath are talented musicians, who can actually play an instrument: their live performances prove this, the composition of even this album is at the same level of their albums. So metal or not, it doesn't matter: if you're good, you do things in a good way.

No one here is saying this is perfect, because there are flaws and it's some kind of trivial if compared to the overall rock music universe, but musicians are people like us who have their background and pack of experiences and references. The album connects back to the roots of the genre, back in the days when emo was still a borderline mixture of post-hardcore and college rock. Songs such as Young and Aspiring, The Impact of Reasons and I'm content with losing are absolutely enjoyable and seem more played by a band like Funeral for a Friend or You and Me at Six, rather than by the same one who 4 years before made a blackened deathcore album. Don't even give much importance about the lyric content which is quite juvenile and predictable, not because it's religious inspired - the majority of the art is, just look at the paintings of Caravaggio and Raffaello - but it's simply because are pathetic and vacuous.

Not clearly for everyone, but somewhat good in its own way. Maybe "so bad it's good" for some of us, but we cannot forget those days which we were playing at the console and listening to it. And to feel nostalgic is absolutely part of our nature.

Sometimes you just need to change your view about things in music. If I would've known that I ever listened to this type of music, my ears would be cut off already by the time this review is being written. So yeah, this is cheesy emopop, but pretty good one in this case.

To make my points clear, and the first and most important- THIS IS NOT METAL OR METALCORE. THIS IS "EMO"CORE, but the more stable version of it. This is not even close to the crappy BVB (which their name isn't even worth of being in bold) or any of today's "emo" shitcore. This album has more passion and talent (although the talent here is very lacking, but this will be discussed later on the review) than any of those bands, which is a thing that makes this release very fun and lightweight.

Now, to the musical part of the album. After the major lineup change that came after the almost black metal Cries of the Past, the band headed for a more commercial direction which means that the metal sound had to be changed into a more acceptable form of "heavy" music, and in fact, this isn't heavy at all. The drums aren't shattering metal beats, and instead focus on more alt-rock/pop punk rhythms which definitely with the music which was targeted at the audiences of those genres. The guitar riffs feature very simple chord-driven melodies that are repetitive but are straight to the point and are one of the album's good points. Another interesting feature here is the vocals- the clean vocals are very cheesy and sugar-coated but are really catchy and provide some really great vocal hooks, and those are opposed by wannabe emo screams which surprisingly are stable and consistent, in opposing to other emocore bands.

The songs themselves are well structured, with a "loud" part at the beginning, a more quiet refrain at the middle of the song with occasional some acoustic guitars, and then back to a louder section which is packed with energy and passion. Although this structure may seem very repetitive at the beginning, it isn't that boring and drives They're Only Chasing Safety forward without any things that would interrupt it. The only cons about the album are the bad production which lacks any bass, the useless instrumental The Blue Note, and the closing song which sounds whiny even compared to this album.

Oh, and let's not forget the fucking lyrics. I admit it. THEY SUCK. They're your typical whiny wannabe emo teen lyrics which fell in love with another wannabe and she dumped him so he cut his veins and cried about it while stealing his mom's makeup and cutting his veins:

"Well look who's dying now
Slit wrists for sleeping with the girl next door
I always knew you were such a sucker for that
It doesn't matter what you say
You never mattered anyway" (A Boy Brushed Red Living in Black and White)

What could be more said about this? It is an improvement from their last album, but not from the one before that. It isn't suitable for everyone, but it is pretty enjoyable. Recommended.

Underoath's music at this point in their career transcends being terrible and becomes revolting. This has to be one of the worst albums I've ever heard; there is not a single redeeming factor about it and it's actively irritating and grating to listen to, which is incredible given what the band are evidently shooting for with this crop of songs. I've known about this album for several years now and even as I've grown to appreciate pop punk, alt rock, post-hardcore, metalcore, etc. this still smacks me as being the absolute dregs. It's a miracle the band would go on to improve from this thing; you'd think they'd have negative talent between them based on this.

The music presented here is vocally orientated screamo/post-hardcore with very strong pop sensibilities. Like everything in these genres the music is loaded with emotion, and as such it pretty much lives or dies by how authentic and emotionally compelling it sounds, with plenty of emo bands from the time shooting for a display of relatability and authenticity to their listeners. Technical flaws can be excused somewhat if the music conveys its message and its feel well, and this is the death sentence for the album. The entire thing listens like the most formulaic, safe, watered down and manufactured pop punk imaginable which simultaneously shoots for a level of abrasion with harsh vocals that are totally unwarranted given that music conveys no convincing angst, heartbreak, anger or indeed any real emotion at all. This total soullessness is a result of the deeply flawed and utterly pacified music, and it in turn makes the music even harder to take seriously once it sinks in what the band is doing. Not a single moment on this album will make you relate to it, all the music makes you feel is embarrassed for the band and yourself.

The guitars are fuzzy and sanded down of any real distortion, meaning even when the guitarists play anything approaching aggressive it's totally neutered. For the most part the guitars are mixed in the background; a melodic backdrop to the vocals that doesn't do much of anything beyond fuzzed out alt rock/pop punk riffing, unless that stops entirely for some chord picking, some more ambient material, or a totally generic breakdown that adds nothing to any song they're placed in. The drums are similarly lightweight and mixed in the background and admittedly keep up the energy, but it's all for naught when the material doesn't accomplish anything positive. There's nothing special about any of the instrumentation, and it's clearest when listening to the band behind the vocals how tame and manufactured everything is.

And then of course, there are the vocals. Aaron Gillespie's cleans are boyish, gushing, and whiny, a common feature of the genre. His take on the style is particularly weak and pathetic sounding, so they're annoying to begin with. However, given that they are unconvincing of the angst they try to convey, their melodramatic nature becomes even harder to stomach than they would have been. Not helping this is that the lyrics are exposed during the singing, which reveals the manufactured and false teenaged emotions conveyed in them - the worst example being the opening to 'A Boy Brushed Red Living in Black and White'. They never fail to make the listener feel awkward and once again, embarrassed. They don't make the songs catchy as you won't want to remember or sing along to the material even if some of the choruses here are annoyingly earwormy.

The high pitched, pulpy screams of Spencer Chamberlain are equally grating; he sounds as if he's about to cry and sometimes falls into a really weak yell between his fits of very poorly executed and pathetic-sounding screams. However once again, they convey no emotion at all and sound very forced, making them actively annoying to listen to. It listens like noise for the sake of being loud with no other purpose, which cancels out the one benefit they have of hiding the lyrics. They aren't aggressive to begin with and the 'heavy' instrumentation they're backed up with isn't at all punchy in any way. Not helping matters is that the vocals are at the front of the mix, so they are impossible to avoid (and even then, there's nothing to look out for instrumentally.)

This entire album is the worst; it is total commercial fodder that doesn't even succeed at being inoffensive background noise. Not once does it serve up a memorable and emotionally compelling hook or song idea, it has no original ideas of its own beyond sanding down everything to the point of being rendered entirely ineffective, and what few ideas it does present (weak harsh vocals, equally weak clean vocals, cringey lyrics, neutered instrumentation) are used over and over again such that once you've heard one or two tracks you've heard the whole album. It has no identity to speak of beyond being entirely hollow and sub-par musically and it's actively annoying to listen to. This album is truly dreadful on every level.

At least the special edition has re-drawn cover art from Jacob Bannon; it looks a whole lot better than that crap up there.

This album really means a lot to me. It spoke to me in so many ways during my high school years, I know it sounds probably dumb or pathetic, but let me first explain that They're Only Chasing Safety is in no way a metal album. It's post-hardcore, but it's glorifying, almost life changing music that helped me for years so it may seem a bit odd for a review of an album that is potentially belonging to rock music to be reviewed on a metal website, but I want to explain how great this record really is and why.

The first time I heard these songs compiled with insane amounts of passion, angst and pain, I was drawn in. The music written and displayed on this album is like looking through a museum of afflictions with yourself and serves as a professional written manual to guide yourself through your own problems. Most of the album's pure concept is drummer/clean vocalist Aaron Gillespie's intense pain of ending his four-year relationship. Some claim that this album was influenced by pop music generally while put up in-comparison to Underoath's entire album library. In some cases this is true, since the head of writing was handled by Gillespie whom of which is mainly influenced by pop rather than anything pertaining to metal as the rest of the members that Underoath had previous and even after Gillespie had left the band.

Currently, Underoath is broken up. If I had reviewed this album while they were together I would discuss their future albums combined with the notion of their past discography, but unfortunately I cannot do this. What I can say, however is that if you've been at least a little keen to their earliest years, you'd be able to take notice that the band's first two albums primarily consisted of influences to the likes of black and death metal with groove-laden structures. Underoath were originally pretty much a purist metal band during these early years before taking on metalcore with their 2002 LP The Changing of Times that combines poppy-hooks, catchy verses, shrilling screams and even some of the extreme elements that they had on their first two albums are even on there for a few songs. Underoath are a very creative, deep fun band. That's how they've always appealed to me personally, the influence that all six members incorporate is simply divine and frankly insane. Here with the band's fourth LP They're Only Chasing Safety, the band build upon the warm poppy bits heard on The Changing of Times but discard absolutely every last bit of all the brutality the band once incorporated in the likes of albums like Cries of the Past. There is no metal on this album, it's post-hardcore. It's perfect, pure, astonishing rock music.

It should also be noted that the record would see the band's famed and final frontman Spencer Chamberlain taking up the screamed vocals in replacement of Dallas Taylor, whom moved on from the band following The Changing of Times. Taylor's scream tended to feature more of a barked sound wherein Chamberlain's fry scream technique is off the charts. It's exactly the vocal style that this band and whole genre as together has the face of. Chamberlain on this release is powerful, tortured sounding and emotional all at once. How is this all done in just screamed vocals? I'm not even too certain, his vocals nailed it. Partnering up with his vocals, however, is drummer Aaron Gillespie providing the clean, sung vocals heard throughout. Gillespie seems to have had an adolescent singing voice his whole life considering even in today's age as I review this, he still sounds like a high schooler at the current age of 30. His lyrics are also unbelievable words of near-poetry. While Chamberlain co-wrote much of the lyrics heard here, Gillespie served a driving force using his intense heartbreak at the album's main influence as I started earlier above.

As for the musicianship, Gillespie's variety on the skins is almost not even a competition for others in this same genre. While his snare is the loudest of his whole kit on this album, the tone of his cymbals sway in back and fourth through the background of the music, It has none of that overly clashy sound or sounds like they're too almost air-thin which is a common problem in bands like this that variate between fast/slow tempos. Albeit the album is produced in such a way that when the music does speed up, his cymbals are turned up. His bass drums are put at the very gritty channel as everything else that has bass merit on this album. In other words, when you focus on the bass drum, you can clearly hear Grant Brandell's bass guitar hovering just above it. There is no fight for dominance over the instruments on this album. Everything is finely audible, even the synthesizer. All six members shine and they all play their own parts, save for the only exception that the band doesn't have much use of a rhythm guitarist at some points, but during an appropriate amount of verses they take use of the lead/rhythm factor when they're not just following along with each other.

For the sake of me speaking about songwriting, now this is something I forgot to get onto even further. None of the tracks here even come close to sounding the same. They're not like to such an insane variation to the point where it sounds like a different band on each song, but they get far, far away from blending in with each other. The opening song "Young and Aspiring" simply just gets straight to the point at a fast pace while the album's following song "A Boy Brushed Red Living in Black and White" slows down to mid tempo featuring some of the album's most catchiest offering. "The Impact of Reason" following after features more of a cold/hopeless sound and the album just variates from these elements until it reaches its final track which tends to sound like an electrpop piece before the song's (and album itself's) climax. While "Down, Set, Go" seems to be the band's biggest ever attempt at pop rock, the entire musical essence of "They're Only Chasing Safety" variate between influence of post-hardcore, pop rock and some minor metalcore elements they had the album before while sounding different for each track.

After this album, Underoath would later ditch the post-hardcore and return to metalcore in a similar style to what was heard on The Changing of Times, completely abandoning the sing-a-long choruses and all that jazz, but nonetheless did a good job by showing to the world how talented and different they are than just your typical metalcore unit. Many bands would gladly false market themselves as a Christian band just to fit among a crowd that would accept them for exposure. It's not like that with Underoath as they truly show how faithful they are to their god in what they say, but it's not like that with their lyrics. I personally believe in no religion, but more power to them if they're Christian kids and making some absolutely outstanding music in the process. Here, Underoath (and pretty much every album by them for that matter sans maybe Act of Depression) never take their religious views and make the listener choke on it. The word "Jesus" is only said once on this album, other than this occurrence almost everything on the record is negative/depressing themes with absolutely nothing concerning religion. As the band once put it themselves "Christianity is the backbone of our lives, but not the backbone of our music." I could name off personally so many individuals that wouldn't hesitate to tell any band to fuck off they only made songs about God and Jesus all day. I believe Underoath should be deeply respected for the simple fact that they're not douchebags about their religion.

They're Only Chasing Safety deserves the 100% score I gave it for all counts. It's not that I find this album literally flawless, yet it's more like I just find nothing wrong with it enough to deduct anything from its final score. I mean heck, I already mentioned numerous times in this review that this is not a metal album... but should my score affect that if it's amazing music nonetheless to the fact that it's a record that doesn't follow to the accordance that this website expects from its content? Of course not. Outstanding music will always just be amazing music to me regardless of its genre.

It may sound lame or cliché, but this record has simply done just way too much for me in my past for it to be forgotten as just another -core band opus. Everything from its musicianship and lyrics have saved me from myself far too many times to pass it off as a rehashed emo recording. I could go on all day about this album, but everything I've needed to explained have been written above and if you need to fully fathom how I appreciate what they did with a record like this, then start at the top of this review and re-read all these paragraphs three more consecutive times.
In my opinion this is Underoath's best work. But it also ranks in my heart as one of my favorite rock albums ever.

Listening to this makes me feel humiliated. This album has that pathetic MTV pop-punk / alternative vibe all over it. At the same time, it attempts to don a post-hardcore shell in an attempt to sound edgier than it really is. Expect nothing but undemanding power chords, dippy melodies, a crystalline wall-of-sound, and a scream / clean vocal duo that are appalling. Lyrics about break-ups and high school drama push the Christ preaching all the way to the closing track. Even by proper post-hardcore / metalcore standards, this is some of the yuppiest of the genre.

Aaron Gillespie let loose everything he wasn't able to accomplish on the previous albums. Dallas Taylor can do harsh and clean vocals pretty well (his current band Maylene... is proof of that), but in Underoath he was regressing. Aaron's here-and-there vocals had to settle for less-than-second during those years, but They're Only Chasing Safety is his true debut. Aaron's sugary-teen style of singing gussies up the already tame and cacophonous rock chords filtered crisply in order to attain this uplifting tone of hope. No matter how inspiring or spiritually elevating this may seem, it's a falsehood that begets dishonesty for every second. Only one track, "It's Dangerous Business Walking Out Your Front Door" (ugh, and the music video introduced me to the band), with its disconsolate tone and super-sweetened chorus, is the one section that lives up to what the band wanted to have happen.

(Then) Newcomer Spencer Chamberlain is trying way too hard to sound like he's in turmoil. His screams and growls would come into their own much later with this band, but his first role in Underoath on what amounts to the band's wussiest album leaves a lot to be desired. Hearing him scream with his shrill, pulpy voice shows a boy wanting to be the center of attention. These screams are very tiring and antithetical to what they're trying to accomplish. Seriously, shut the fuck up and do a suitable scream / growl. It's infuriating hearing vocals so improperly executed, as if he was seconds away from crying after a break-up.

I'm not even kidding, go hear "A Boy Brushed Red..." and, if you can get passed the uncomfortable intro (sounds like the opening to Jimmy Eat World's "A New Aesthetic"), you'll hear some of most irritating lyrics and screams on the album. A band like Jimmy Eat World, for all they sum up, actually come out playing the same type of chords while being awesome at it. On the other hand, these kids have flailing breakdowns, copy-paste guitar leads from every other pop-screamo band, clean soundscapes, accessible drum fills, and hold-your-hand mentalities for every hook and chorus. There's not a moment of not being pretentious, and that's without the cloak of some of the worst lyrics I've heard from this type of band.

This album only added to humanity's imperfection. Electronic cluttering alternative rock with wet screams and glittery cleans among sparkling guitar chords culminates into this mess. It's not helpful either to try and avoid this and end up having to see that awkward cover art intermittently (the alternate one's barely any better). They're Only Chasing Safety's awfulness is something to behold, and only the worst of human creations are able to top this.

I'm probably going to take a lot of open hate for this, but I like Underoath. Well, not anymore. Their new albums have been a straight free fall into an ocean of shittiness. But at one time Underoath was good. Not great but good enough for me to call them my favorite band through my screamo-teen years. This was the first Underoath album I ever heard and really liked it. Their two later albums became piles of emo bullshit. While this album does have some emo-style music, I wouldn't off and call it an emo album. It sounds more like hardcore punk.

Cries of the Past was nearing the genre of black metal. It wasn't all the way there but it was definitely on the road. After Dallas Taylor left, Underoath got Spencer Chamberlain to do vocals. The songs on this album are very melodic and flow very well. I know lots of people hate on Underoath both for their VERY open Christian faith (open to the point of annoyance) and their appeal to emo twelve year olds.

But you have to look at Underoath from a completely different outlook. You can't judge them on their lyrics, genre, or image. The metal community practically automatically discards Underoath as "a shitty Christian metalcore band." And yes, while they are Christian metalcore, you have to judge them on the outlook of Underoath itself.

The guitars flow like water and aren't all over the place like "Lost in the Sound of Seperation", where the guitars were just twanged like someone was jerking off. This album actually has good order. The drums aren't metal drums, in the sense that they aren't very fast or loud. They are normal rock/punk drums. Which is OK because I'm not judging them on a metal view. The drums have nice rhythm and tone to them without feeling to bland. Keyboards are almost not worth mentioning, as they are easily forgettable.

Now on to the big issue: the vocals. In a metal sense, yes Dallas is better than Spencer. But judging on Spencers own ground, he is very good. His screams don't crack and they are very high pitched and not the typical low-tough-guy-deathcore shit. Spencers vocals are unique on this album. His clean vocals actually carry a tune and sound very nice. The screams and clean vocals flow together very nicely and cleanly to create a great experience.

So, it comes down to what you are looking for. If you are looking for a good metalcore album, here's a great choice. If you want something less metal than Dallas's albums, but better than the last two albums, pick this. If you are looking for a heavy, brutal metal album, you're looking in the wrong area completely.

Some folks have taken it upon themselves to make Underoath their whipping boy. While understandable about three years ago (when they were still hot shit), they've since cooled down in terms of popularity. I don't hear their style of music over the airwaves all too often now, as another style has taken its place (we all know what it's called, tee hee).

I now have some breathing space to dissect this band since they're no longer 'hip' to listen to. I will admit that I have a soft spot for shit like this. It's straight-up pussy screamo circa 2004. There isn't an ounce of fucking metal in this brew, and that's a good thing, because then I'd hate it for every metal influence it bastardizes. I can't put a finger on any of the inspiration on this album, so I have no anger to direct towards it. It's just pop-punk with screaming.

Most of the music is relaxed, flowing at mid-pace. The drums maintain a laid back punk beat for the guitars to casually strum over. There's no fire in Underoath's music, just fluffy clouds and tulips. Some songs contain electronica (It's Dangerous Business..., Some Will Seek Forgiveness..., Young And Aspiring). However, the use of electronic music is brief, serving as a bridge to the next part of the song featuring acoustic instruments. There is no "crabcore" techno to be heard. Breakdowns are strictly limited to a dun-dun-dun pattern. They're easily digested, leaving no aftertaste of deathcore.

As expected, the vocals leave something to be desired. Soaring vocals are clearly out of range for both singers. Nonetheless, attempts are still made (A Boy Brushed Red..., Down, Set, Go). There's nothing truly grimace-inducing, but I suspect all possible flaws have been steamed out by using auto-tuners. The presence of artificial tuning is sometimes apparent. Thankfully, the blatantly synthesized tone, which has become so popular these days, is absent.

The harsh vocals suffer my ears a bit more than the clean ones. I always conjure the mental image of a scenie-weenie hollering at a cheating girlfriend, exasperated, pitiful, utterly embarrassing. As pathetic as they are, they fit the music. On a redeeming note, there's nothing vaguely resembling a "low" on this album. That warrants an 'amen'.

In my case, this album is a grower. I've given it some heavy rotation lately and it's proven to shine brighter with each successive listen. My initial impression was that of, "Well, most of this is trash." But further listens have left me with recognizable riffs, even songs. I had thought at first that the bad and good tracks were at the beginning and end of the album, respectively. The first three tracks still fail to impress me, but I've since found that the rest of the opening half of the album is enjoyable.

I can't pick out any filler tracks amongst the 11 tracks on the album (the last 3 are demos). Underoath have nailed their sound, staying pretty consistent. The only track that feels slightly out of place is Some Will Seek Forgiveness, Others Escape. Its somber opening never fails to catch me off guard after hearing the energetic track preceding it. That aside, I don't feel bored whilst listening to the album. Some tracks stick while others don't, but I attribute that more to my unfamiliarity with the musical style more than a lack of interesting songwriting.

All in all, 6.5 oaths out of 10.

Say the word "Underoath" to any kid in a mall or Hot Topic store and chances are that he or she will know who you're talking about. This band is now ridiculously popular and this album makes that easier to understand. From the first second of the first song, you'll know that this will be awful.

Everything that made this band good (or at least worth listening to) is gone and replaced with stuff that is whinier, weaker, less inspired, and all-around annoying. Just looking at the song titles will tell you that this will be annoying. Typical emo vocals from drummer Aaron Gillespie (who is more content to pound out 4/4 tempos and whine than play stuff of substance anymore) and the agitating singing and "screaming" from new guy Spencer Chamberlain are just one layer of suck. The two guitars don't do much at all, and that's one of my pet-peeves when bands have two guitars that just double each other. Such a waste.

The lyrics have to be some of the worst I've ever read. They're so whiny and stereotypically emo. Such a far fall from the old band's wordy lyric adventures. But at least the stuff is easy to make fun of, especially the "I'm drowning in my sleep" line.

There is nothing metal or even good here, and it is very obvious as to why this sold over 400,000 albums. Mainstream drivel in every way.

You know you are listening to a great album when you feel enticed to scream along with the song, put your hands in the air and twiddle them to the solos, and bang your head against anything you can find – computer monitor, desk, bottle of water, shoe, brick – and when you are done listening to the album through and through, you just want to go masturbate alone and…Ahh fuck, wrong review. Nevermind.

They’re Only Chasing Safety has to be the second worst album ever posted on the Metal Archives. I am not touching the only album that might top this noisy bullshit, Underoath’s Define the Great Line.

To describe this album musically is the easiest thing in the world, although a wee bit tricky.

Okay, you know how some people who are mentally retarded shake their wrists? Do that with your guitar picking hand, with pick in hand, and just play guitar like that. There you guy, you just played this entire album. Don’t even bother playing anything that sounds remotely good, as long as it makes some sound it should be all right. Add screaming and crying and a plastic drum set and voila… They’re Only Chasing Safety.

As for the bass... I can't hear any.

Do I need to describe the vocals? Alright, I will, I'm in a good mood, okay... piece of cake. Jesus Worship. There you go, this is the best Jesus worshipping will ever sound, as some of it is indecipherable whining, the rest is just moaning and groaning over juvenile concepts such as "my gf died waaaaa".

Do not bother with this album, there is absolutely nothing of worth here. There is no metal, no inspiration, no good lyrics, no worth, just mainstream money lusting Emopop. I'm just sad that I can't go lower than 0 in rating this bullshit. I will say that anyone who gives this a rating higher than 0 must be mentally incapacitated or something. So there, I insulted any prospective 1s, 2s, even the shocking rating of 3... Hahaha.