Underoath Talk With Revolver

Underoath

Underoath sat down for a lengthy chat with Revolver:

“Every record we’ve ever done, people find a way to hate it,” he continues. “When an artist makes something that I don’t understand right off the rip, especially if it’s an artist that I love, I want to listen to it and understand why. Not until all five of us are stoked does a song make it out of the studio. That’s how it is every time we make music … Whatever you [eventually] hear in your speakers is exactly what excites Underoath at this moment.”

Review: Underoath – The Place After This One

Underoath - The Place After This One

There’s something to be said for when a band knocks all expectations out of the park on a late-career masterpiece. Underoath have proven the naysayers wrong once again with the ultra-creative, career-spanning tenth LP called The Place After This One. The record was produced by Danen Reed Rector (Charlotte Sands) and mixed by Matt Huber (Boys Like Girls), and they both do their best in accentuating the key parts of what makes Underoath such an interesting band in the first place. After some lukewarm fan reactions to the direction the band was taking based on the singles they released from this set, this album shows the importance of context. While even I was admittedly a little worried about the direction found on singles like “Teeth,” seeing how the song plays out in the full set on The Place After This One makes a lot more sense and shows that Underoath has plenty of reserves in their creative tank. The album ends up being the band’s best work since Define The Great Line, and another defining moment in Underoath’s discography.

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Review: Underoath – They’re Only Chasing Safety

Underoath - They're Only Chasing Safety

It’s pretty amazing to think just how captivating Underoath were on their fourth studio album called They’re Only Chasing Safety. The album was first released on June 15, 2004 via Solid State Records and was produced by James Paul Wisner, and surprisingly enough, only had two official singles released from the set in “Reinventing Your Exit” and “It’s Dangerous Business Walking Out Your Front Door.” The LP has since been certified Gold, and remains one of the most influential records in the emo/hardcore scene. After their third record, The Changing of Times, nearly half of the band members had changed for this “version” of the band, now considered to be the “classic” lineup. They’re Only Chasing Safety, to this day, remains an adrenaline shot to the ears with its mix of post-hardcore, emo, electronica, and punk rock. The album features a creative blend of clean/screamed vocals by Spencer Chamberlain and drummer/vocalist Aaron Gillespie, while the rest of the band members make their presence felt in several different spots on the record. They’re Only Chasing Safety, and their subsequent album of Define The Great Line, are consistently pointed to by fans of Underoath as their best work, and the band can look back on this 20th anniversary proudly knowing that they captured lightning in a bottle at just the right moment in time.

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Interview: Chris Dudley of Underoath

Chris Dudley

Recently I was able to catch up with composer/Underoath keyboardist, Chris Dudley, to discuss his recent scores for films like the Screambox exclusive, Night of the Missing, that is currently available for streaming. In this interview, I asked Chris about some of his favorite scores of all time, his process for making his scores for films he’s assigned to, how music can feel different when listening to it in different environments, and he also offered up some news about Underoath’s new album progress.

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