Anthology 1999 - 2013 is the latest Christian Metal core album released by American Christian 6 men Metal core band, Underoath. This album was released on November 6, 2012 and released under the label Tooth & Nail Records.
Album Details ::
Album :: Anthology 1999-2013
Artist :: Underoath
Release Date :: November 6, 2012
Genre :: Metal Core
Label :: Tooth & Nail Records
Location :: Tampa, FL, USA
For the six men in UNDEROATH, whose members have evolved and thrived
during a decade-long progression that has elevated them into one of
heavy music’s biggest successes, change has been ubiquitous. 2010 has
been no exception for the Tampa-based sextet, who underwent and overcame
what many consider their most significant line-up alteration yet. Yet
in doing so, UNDEROATH experienced an artistic rebirth
in the form of Ø (DISAMBIGUATION), its triumphant fifth album for Solid
State/Tooth & Nail. Transformed by the arrival of new drummer
DANIEL DAVISON, formerly of Norma Jean, UNDEROATH--which also counts TIM
MCTAGUE, SPENCER CHAMBERLAIN, GRANT BRANDELL, CHRIS DUDLEY and JAMES
SMITH--has delivered an album that emphatically surpasses its
predecessors in terms of craftsmanship and cohesion. If 2006’s Define
The Great Line and 2008’s Lost In The Sound of Separation, both which
debuted at #2 and #8 respectively on Billboard’s Top 200 Album Chart,
were significant accomplishments, Ø (disambiguation) is UNDEROATH’s new
creative high watermark. ....
“We all think it’s our best record by
far,” says frontman SPENCER CHAMBERLAIN of the band’s brilliant new
disc. “I’d say to fans that you may have heard UNDEROATH, but you’ve
never heard UNDEROATH like this. We can’t wait for people to hear it.
There isn’t a single part on this record that we would change.” Be it
the commanding opener, “In Division” – which balances the cathartic
approach that has made UNDEROATH champions of hard music with an
exhilarating melodic hook – or the expansive, inventive allure of “Catch
Myself Catching Myself,” the Matt Goldman and Jeremy SH
Griffith-produced Ø (disambiguation) asserts that the departure of
longtime drummer/singer Aaron Gillespie hasn’t hurt the band. In fact,
the line-up shift has instead strengthened the band’s resolve and
liberated UNDEROATH. Most notably, SPENCER – who provided much of the
singing and screaming vocals heard on Lost In The Sound of Separation –
has embraced his role as the band’s lone singer, while bringing an ample
supply of melody to Ø (disambiguation). “We’ve never been afraid of
singing, but the big poppy choruses are gone,” says MCTAGUE. “This
record has a lot more of a mature feeling.
It wasn’t that we hated
melody, but we wanted it to be a proper fit.” For CHAMBERLAIN, being the
only singer in UNDEROATH feels and sounds more natural. “It’s never
been in my personal taste to have two people interchanging vocals, so I
wrote my vocals on the album for just one,” SPENCER explains. “It sounds
less forced to me, plus it’s in the same voice. I made a conscious
effort to make it interconnected. I enjoy singing, but before it felt
like I couldn’t write a part and deliver it because of the inner
workings of the band. Now there are no rules. I have the full creative
freedom to deliver the song, whether its singing or screaming, the way I
want to.” But it wasn’t just Spencer, the rest of the band felt
unfettered during the crafting of Ø (disambiguation). “We let down our
guard on everything with this record and just trusted one another,” TIM
says. “We all wanted the same thing, no restraints. More than any other
record we’ve made, this one came together more naturally. And
ironically, we wound up with more melodic parts than ever before, but
things weren’t so calculated.” Without confines, UNDEROATH arrived at
atmospheric numbers like “Driftwood” and “Paper Lung,” two of the band’s
most forward-thinking pieces yet, with little hesitation. The former,
according to TIM, is inspired by Radiohead. “It’s our homage to the
band.
We embraced it and went were the song took us.” If that sounds
like a radical shift, to hear it is to know it makes perfect sense with
the pacing of Ø (disambiguation). Meanwhile, SPENCER cites the
aforementioned “Paper Lung” as his personal favorite on the record. “For
me, it has a classic Deftones feel. It’s still dark and heavy but
there’s a melody driving it. Big choruses, guitars, quirky keyboard
touches. I love it.” But that’s not to say that the sonic fists that
fans have come to know are being edged out, as evidenced by the fast
punk-inspired charge of “Vacant Mouth,” the irate, unforgiving
“Reversal,” the maniacal feel of “Illuminator” and the vicious,
mind-bending “Who Will Guard The Guardians.”. As for DAVISON’s entry,
CHAMBERLAIN and MCTAGUE both herald the drummer as a key element in
UNDEROATH’s ability to move forward. “The first person we considered was
DANIEL,” says TIM, who first befriended the drummer ten years ago when
his band shared Southeastern stages with Norma Jean. “And he came down
to play with us and things just clicked quickly and easily. There was no
hesitation, he immediately fit in. After three weeks of writing with
DANIEL, we committed to do the new record on time and as planned. That
spawned us into working every night, from 5 o’clock until 1 or 2AM the
next morning. Playing for six to eight hours.” “Writing with someone
new, was invigorating,” says SPENCER of DANIEL, who has since become a
permanent member of UNDEROATH. “Drums play a huge part in UNDEROATH, and
I think Daniel just killed it.
He destroyed everything in his path when
it came to writing and playing. It’s been such a smooth and positive
transition. It feels natural now.” Working again with Goldman, who
co-produced Lost In The Sound of Separation, and teaming with Griffith –
who helmed Norma Jean’s most recent album, UNDEROATH assessed what it
had done in the past and ultimately sought to convey a similarly organic
feel on the record. “When we felt the record taking shape, we sat with
it for awhile--we looked at the songs and our past releases and compared
the production,” says MCTAGUE. “We weren’t looking to go down the same
road. Our last couple of records were super-produced and edited. Matt
and Jeremy are both vibe oriented and helped us get where we needed to
go.” “There’s a lot of stuff on this record that some might consider it
loose, but for us it’s got little imperfections, like we all do as human
beings,” MCTAGUE adds. “And I think it’s probably closer to the live
UNDEROATH experience. The nuances that give it a little bit of life and
character are present and we really embraced that.
A lot of the drum
stuff for instance happened in one or two takes.” MCTAGUE continues,
“This record feels more natural because it’s a lot more sequential
whereas our last record was more piece by piece. It’s a lot closer to
our live experience rather than a flawless, computerized project.” In
that sense, Ø (disambiguation) lives up to its meaning. It’s an album
that speaks for itself as it provides clarity about a band that has
experienced its share of misinterpretation. “We want this record to set
the record straight and it will,” SPENCER concludes. “It’s presented
exactly the way we want it. And when we play it live it will show that
UNDEROATH is, as it always was, the sum of its parts. I couldn’t be more
proud of this record and happier with where we are as a band.”
- Spencer Chamberlain: vocals
- Daniel Davison: drums
- Timothy McTague: guitar
- James Smith: guitar
- Grant Brandell: bass
- Christopher Dudley: keyboards
1. Sunburnt
2. Unsound
3. In Division
4. Catch Myself Catching Myself
5. Paper Lung
6. Desperate Times, Desperate Measures
7. Too Bright To See, Too Loud To Hear
8. In Regards To Myself
9. You’re Ever So Inviting
10. Writing On The Walls
11. A Boy Brushed Red Living In Black And White
12. Reinventing Your Exit
13. It’s Dangerous Business Walking Out Your Front Door
14. I’ve Got Ten Friends And A Crowbar That Says You Ain’t Gonna Do Jack
15. When The Sun Sleeps
16. Cries Of The Past
17. Heart Of Stone
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