It feels great to have Anberlin back in the music fold. The band seemed very comfortable walking away from the music scene after the release of their last (and at the time, final) album called Lowborn and an accompanying farewell tour, yet fast forwarding to the band’s reconciliation in 2018, where Anberlin would perform several concerts and then in May of 2020, the band announced they would be working on some new music once again. Add in a few livestream concerts during the pandemic, and Anberlin regained their band chemistry and appear to be re-invigorated in the path that lies before them. This passion was felt first-hand in lead vocalist Stephen Christian when I interviewed him about Silverline. Hearing Christian’s take on how these songs came together with producers Tim McTague (Underoath), Chad Carouthers, and JJ Revell only brings further context to the rich tunes that came together on this EP.

I will forever defend the right of a band to go out on their own terms. I’ve said before that I would happily follow any of my favorite artists years past relevance and ages after their creative apexes, but I am equally okay with bands who realize when it’s time to leave the party and decide to give their fans a proper goodbye. There’s something about a very consciously crafted swansong that can just be so perfect when executed correctly. And “the perfect swansong” is precisely what Anberlin are shooting for with Lowborn, their seventh full-length studio album, and their last.

Forgive me if I seem a bit zany during this review. There has been great upheaval in La Vida de Blake lately. Things started out great: I finally found a girl that liked me enough to let me do that cute thing where you hold hands by interlocking fingers. I heard music everywhere, and that wasn’t only because Pierce Brosnan hit his high note in “SOS.” Aside from this happy fact – we’re soulmates, I can feel it – I was forced to deal with some devastating news: Anberlin has signed to a major label. Put on your black graphic tee and mourn. It’s time to un-bookmark their Myspace and Twitter pages. Well, at least until now there was the slim chance New Surrender would be terrible. Hell, I’d dump Jasmine in a heartbeat if it would make this album contain terrible ballads and safe, music-executive approved radio rock. They’d be back on an indie and they’d be all mine. Of course it’s just my luck that New Surrender rocks with the force of Blueprints and smarts of Never Take Friendship Personal. And worse still, Jasmine found out my father doesn’t own and never has owned a private island near Bermuda. If you need me, just listen for the sobs at Anberlin’s next packed arena concert.

For every individual who listens to music, there is also that one “iffy” band. It could be a band that has released solid yet not spectacular albums, or has released a few great songs and a few mediocre songs; basically, it’s a band that has grabbed your attention but cannot seem to hold on to it. One band that has fit this description for me is Anberlin. Sure, their first two albums have some great tracks, but they also have contained tracks I could care less for. They’ve also been a band that couldn’t seem to figure what they wanted to sound like. Some tracks they would be very intense while other tracks were as poppy as can be. Because of this, Anberlin was a band that I was very lukewarm towards. Until I heard Cities. With their third album, the Florida quintet has shattered everything I used to think about the band. Produced by Aaron Sprinkle, Cities display a vast improvement in every aspect. The drums hit harder, the guitars sound tighter, and Stephen Christian’s vocals soar higher than every before. In other words, the overall sound of Anberlin is bigger than ever.