All of us who've seen Underoath live remember the moment we first saw him. You know who I'm talking about. No, not former front man Dallas Taylor. Nor current vocalist Spencer Chamberlain. No, not even exuberant drummer Aaron Gillespie whose hot pant jeans shorts remind me of Tommy Lee. I'm talking about Christopher Dudley. Yep, the keyboard guy. I've had the pleasure of catching the band a couple of times and I still smile now, months, even years later when I think of his massive frame hunched over what must have been thirty seven or so keyboards, soundboxes, cable clusters and other electronic gizmos, his infectious grin flashing from underneath his blond mop as he sampled some of his... samples... for the crowd before the show.
Then the show began and for the duration of Underoath's set Chris was mashing his head to the rhythm, triggering samples, playing the keyboard, and when not playing just grabbing the edges of his keyboard like the edges of a psychedelic carpet and screaming in the face of the wind as he flew.
This sense of abandon and joy comes across from the band as a whole. They all seem pretty ecstatic to be doing what they're doing for a living. Over and over in interviews they comment on how blessed they are. How refreshing. The heat, sweat, energy and interestingly enough, good will, that seems to be flowing from the stage when those six guys are kicking out the jams is remarkable.
Tour animals that they are, Underoath have made a name for themselves primarily through the records they're dishing out. The Florida sextet concocts rock music of a quirkily catchy variety, marrying plenty of electronic elements and metal edge with undeniably pop savvy hooks and choruses. Spencer Chamberlain's vocal has a tremendous range and those of you who read my reviews know I don't make comments like that lightly. He has a good scream, and at the same time is also one of the few hardcore vocalists who can actually SING.
Their music is not new in the sense that no one's done it before, but it's fair to say that these men are putting a twist on their music that... has that special something. I can't quite put it into words simply because I can't quite put my finger on it. Maybe it's seeing them live and forging that kinetic bond. More likely though I think my affection for what some would deem yet another pretty boy hardcore band trying to go rock and roll lies in the fact that they're actually pulling it off pretty well. The untouchable integer, that spark you can't quite grasp but which you also can't ignore and leaves you unable to deny your deep inner love for Tahiti 80, or Brian Eno, or Weird Al, or whoever it is, these guys have it. And where The Changing Of Times left off after beginning to hack a new trail though the rock and roll jungle, They're Only Chasing Safety picks up and widens that road to the sea.
3/4
Other coverage for this album
HM Magazine #109Reviewed by James WetzThe double life of Underoath. Before joining Solid State, it was straight up hard. Then with their Solid State debut, The Changing of Times (coincidental, huh?), melody was unleashed. Hardcore screaming remained, but the band was evolving toward something else. They're Only Chasing Safety takes yet another step away from metal and hardcore. While it has ups and downs, several songs approach…The Phantom Tollbooth 2004Reviewed by Len NashUnderoath does it again! For starters, they've changed genres; although not as drastic a change as in the past. The CD is called: They're Only Chasing Safety, and now the genre is straight-up Emo Core. The band has moved from a previous sound of heavily synthesizer-led Emo Hardcore, and before that from extreme metal, to the synth Emo Hardcore of the day. They're Only Chasing Safety moves…Similar sounding releases
2005Comeback KidWake The Dead
2004EmeryThe Weak's End
2004ShowbreadNo Sir, Nihilism is Not Practical
2005Forever ChangedThe Need To Feel Alive
2004Kill VeronaTrauma
2005Chasing VictoryI Call This Abandonment
