In their 20 year history as one of the most important post-hardcore/metalcore bands in the music scene, Tampa’s Underoath have influenced a legion of veteran bands themselves, like The Devil Wears Prada and August Burns Red. Their albums have managed to chart high on the Billboard Top 200, and few regional acts can rival their stature and intriguing evolution. With multiple candidates that could be confirmed career-defining records, it’s hard to find fault in most of their work. Their fanbase continues to grow after their breakup a few years back, as their final shows of the year saw the band taking over the Yuengling Center for their first real arena show. Impressive.
Join us as we examine the band’s history over the years and their musical and stylistic evolution, starting with a pair of albums that had a very different vocalist, and a genre that might shock a newer fan if they were unfamiliar…
Act Of Depression // Cries Of The Past (1999/2000)
A strange mix of black metal, metalcore, and borderline death metal, Underoath’s first two records certainly weren’t accessible to very many fans. In fact, they’re a lot closer to Extol’s mid-period work (think: Burial). While undeveloped, both of these synth-heavy albums were at the very least important milestones in the band’s career – if you only listen to a few tracks here, openers “Heart Of Stone” and “The Last” are good starting points. Only if you dig 5-8 minute long songs, though. Vocalist Dallas Taylor was still developing, to be sure, and it’s interesting to think what might have transpired if they had continued in this direction.
The Changing Of Times (2002)
To say The Changing Of Times was a 180 degree change from Underoath’s previous work is almost like saying water is wet. Gone are any black metal or death metal influences, and while then-vocalist Dallas Taylor’s vocals were still similar to previous records, they were a bit more palatable thanks to the vastly-improved production. One listen to opener “When The Sun Sleeps” shows off Underoath’s newfound sense of melody, and while the young band still had some growing to do, this is where the band’s identity really took shape.
They’re Only Chasing Safety (2004)
Managing to outsell all of their previous records by a wide margin, 2004’s They’re Only Chasing Safety marked a real watershed moment in Underoath’s history with a shift to sometimes poppy post-hardcore. While the record wasn’t without its flaws, songs like “Reinventing Your Exit” and “A Boy Brushed Red Living In Black And White” contained instantly memorable hooks and lyrics that became fan favorites – and for good reason. New (at the time) vocalist Spencer Chamberlain entered the fold here. While his development and synergy with singer Aaron Gillespie wasn’t always on point, one listen to “Some Will Seek Forgiveness, Others Escape”, the emotional centerpiece on the album, proved the band could nail a vulnerable, emotive ballad. Clearly, the best was still yet to come.
“In this moment that we both ignore the truth
It’s all over”
Define The Great Line (2006)
Define The Great Line is where Underoath really came into their own. In terms of lyrical craftsmanship and the sheer songwriting of songs like “Returning Empty Handed”, this album hits a new peak of professionalism. Underoath’s influences really stand out here, taking on more of a subtle post-metal approach – think genre giants like Isis and Cult Of Luna as major inspirations. They’re evident even on the shorter tracks, but especially behemoths like “Casting Such A Thin Shadow” and closer “To Whom It May Concern” – both clocking in at 6 and 7 minutes, respectively. When this was released in 2006, hardly anyone expected the young metalcore band to be able to craft sludgy metalcore songs, but considering their musical pedigree, it shouldn’t have been.
Of course, there’s plenty of standout singles here, too. “Writing On The Walls” and the rousing album opener “In Regards To Myself” – but this isn’t an album full of singles. Instead, Define The Great Line is a cohesive collection of moments, whether it’s the aforementioned post-metal influence that gives the songs space to breath and reflect, or the simple, yet chillingly ambient “Salmarnir”.
Lost In The Sound Of Separation (2008)
To be perfectly honest, LITSOS is on par with Define The Great Line in terms of quality and honest brilliance. You have the obvious single, “Desperare Times Desperate Measures”, in which vocalist Spencer Chamberlain simply roars in both a terrifying and cathartic manner, putting him at the upper echelon of vocalists in heavy music. Meanwhile, “The Only Survivor Was Miraculously Unharmed” is 3 minutes of ultra-heavy bludgeoning riffs that moves quickly but yet evolves, and shows an even more matured singing performance from Aaron Gillespie.
The Isis and post-metal influences are just as evident here, too. There’s really something about this record that cemented Underoath as one of the true artists in heavy music here.
Disambiguation (2010)
After drummer/vocalist and founding member Aaron Gillespie left the band in 2010, Underoath was faced with a challenge. That made Spencer Chamberlain the sole vocalist, and quite frankly, there can be few complaints about his performance here. It’s a record that is pure catharsis to anyone who’s ever struggled with addiction, and there’s massive risks taken too. For instance, “Paper Lung” is a genuinely awe-inspiring track that brings to mind alt-metal giants Deftones and possibly the ambition of Tool. That’s counterbalanced by “My Deteriorating Incline” and “A Divine Eradication”, 2 adrenaline-soaked barnburners that stack riff after riff on the head of Spencer Chamberlain’s voice. Consequently, they’re two of the heaviest tracks written by the band to date.
Anthology 1999-2013
The two new songs presented here, “Sunburnt” and “Unsound”, were logical continuations of the sound presented on Disambiguation, presenting a powerful alternative metal sound that really showed the band’s growth.
Erase Me (2018)
Erase Me is a solid enough record. It accomplishes their goal of making a solid comeback album, and who really thought a band who hadn’t recorded an album in 8 years could create mid-tempo, yet emotional tracks like “ihateit”? Aaron Gillespie and Spencer Chamberlain’s synergy are impressive here, in a harrowing tale of addiction. It’s an honest look at the personal issues facing us today with the opioid epidemic crushing us right now.
“God, erase me.”
