Review Summary: A new take on the Anberlin’s musical vitals after the fin.
On August 2014, I was able to see Anberlin for the first time alongside Fresno and Esteban (Brazil’s emo torchbearers). At the time I thought, as everyone else, that it would be the last time. Lowborn felt like a logical progression from the synth/electronic tendencies of Vital (someone anyone/intentions to name some examples) that would hint to Stephen Christian’s future musical endeavors. It also felt like a proper conclusion to one of the most solid album runs of the 2000’s. Past the end, we were able to hear the various sides that once compose the Anberlin sound on his entirely (Loosetalk riffage, Anchor & Braile synth-driven pop, Joseph Milligan’s solo project Sins) and accept lowborn as the Fin.
Eight years after the band’s farewell we’re now hearing their new material on Silverline, which present a set of five songs that bring back the sound the band left behind on Lowborn, but with a somewhat new heavy twist on both guitars and synths. The previously mentioned elements of the band’s side projects merge again into a new and yet familiar sound. It’s a fresh enough of a sound that doesn’t give the idea that the band is simply building upon the last album’s sonic foundation. Opening “Two Graves” sounds like “To The Wolves” on steroids with Stephen screams that we haven’t had heard since Cities. It is by far Anberlin’s most heavy song to date and a good teaser to what we’re going to hear. “Nothing Lost” bring the catchy melodies Stephen Christian refined on Anchor & Braile with a pumpy groove carried by Deon Rexroat beefy bass tone. “Body language” brings back the Anchor & Braile synthpop grooves with vocal melodies that reminds the listener of moments on Lowborn like “Atoenement”. “Asking” sound like it could have been released with the bonus material of Vital’s deluxe version “Devotion”, but is flavored by Nathan Young vigorous drumming and rich instrumentation details. The EP closer “Circles” might be the best amalgamation of the little parts that compose the Anberlin sound: A tight groove with good vocal melodies leading to an explosive chorus filled with heavy guitars and synth underlines.
Silverline brings a very familiar sound but it doesn’t feel quite like a reset button, but more of a revamp/rebirth that present us to a new side of what we once thought Anberlin was. Rather than just picking up from where they left in Lowborn, these new songs pick the strengths from all Anberlin’s past albums and adds to them all the experiences from those eight years of side projects. Their newfound heaviness helps bring a new breath to Anberlin that at the time of lowborn was relying too much on the electronics. We can expect good things from a band that feels like it has a new driving force. Don’t ever count Anberlin out.
