Tonight it paid to be part of the media. Comfortably in couches, members of the press sat around Swinghouse Studios in Los Angeles to listen to Underoath‘s newest record, Ø (Disambiguation) , almost a full two months before its November 9 release date via Solid State/Tooth & Nail Records. MEB Photographer Michael Slider and Danny Sugimoto of SpitInTheMud.com were in attendance, taking extensive notes for those UO fans who simply cannot wait.
We’ll let Danny spill the beans first, with Slider’s interpretations tomorrow. From Sugimoto:
Evolution is a natural and necessary feature of writing great music, and Underoath have successfully conquered that dragon. Disambiguation is honestly some of their best work yet, even without the beloved Aaron Gillespie. Every track contains the amount of energy that one would experience during an Underoath live show, and in comparison to Lost in the Sounds of Separation, this album is clearly a natural progression of the band’s talents.
Every track on the record grooves perfectly, segueing smoothly with tracks preceding and following. The album as a whole feels darker and more chaotic than ones prior, yet with a tasteful sense of calm mixed within. The band did more experimenting with drum sounds as well as electronics and programming. And for those of you seeking breakdowns and a few two-step pieces, expect to be satisfied. The collective vibe of the album is wide and difficult to label, but it is good nonetheless.
As for musicianship, every member of the band has grown since LITSOS. Many have worried about the clean singing and percussive elements that Underoath has become known for, though they should fear no more. Spencer Chamberlain has taken over both roles vocally with ease, adding a new twist to the sound that should surprise listeners. Specifically, the third track on the album showcases his capabilities on the microphone.
Daniel Davison smartly treads his own path behind the kit, avoiding the urge to sound like fan-favorite Gillespie. His rhythm and technique naturally match those of Aaron while carving a new niche of cadence and drive. Gillespie is simply not needed to maintain for Underoath’s continued evolution, and is hardly missed here.
Ø (Disambiguation) is some of my favorite work by Underoath, and like the rest of you, I am patiently waiting for November 9th.