Look, I’m about to talk about Underoath’s new album The Place After This One. It’s Underoath, and it’s the 21st century – of course it’s angry and loud and intense.
I’m like a passive fan of Underoath – I heard Reinventing Your Exit as a kid and thought it was good, but I also thought *core music was hard to listen to, so I kept my Underoath fandom to Reinventing Your Exit and my Aaron Carter, RIP, fandom to every single song.
But I’m a grown ass adult now, and I can relate to the anger now, of which there’s a lot on this album. Like, a lot. Like, I can’t casually listen to this a lot, but if someone pisses me off, I can blast through this entire album like no one’s business.
It’s probably going to be on a bunch of scene kids must have lists. It’s probably going to end up in the hands of some happy casual collectors. And will probably piss off a bunch of idiots who took a look at the album art and thought, “a new Sarah McLachlan album!”
As for me? I’m one of the happy casual collectors.
HIGHLIGHTS: The full chorus is sexy and catchy. The intense verses have their places, but you know I’m a huge sucker for catchy choruses, hence my love for this song. Survivors Guilt… guess why. And in a switcharoo, Vultures, because I like the verses. They have a good intensity that leads well into the very intense chorus. And Then There Was Nothing has a catchy riff.
LOWLIGHTS: There aren’t really any lowlights. Every song is kinda exactly what you expect. Typically, I think of lowlights as outliers in a bad way, but there are none. Not everything has a great chorus or awesome riff, but everything sounds like Underoath performing their new album.
