If there’s one thing Underoath are known for, it’s their unpredictability. After 27 years as a band, they could easily take the safe route, coast on their past successes, or even step away from making new music for a while. But that’s just not who they are. Instead, they’ve kept pushing the envelope, taking risks, and constantly reinventing themselves. This passion, and drive to stay fresh and challenge their limits is exactly what has kept them relevant and exciting all these years – something that is prevalent in this record.
Right from the outset, with ‘Generation No Surrender’ and ‘Devil’, this album pushes boundaries lyrically and musically. This theme of resilience carries through much of the album, but what’s impressive is how Underoath balance that intensity with a surprising amount of subtlety. It’s a heavy album, sure. But ‘The Place After This One’ is not just an all-out assault; it’s a deeply emotional journey that reaches moments of vulnerability.
The first single ‘All The Love Is Gone’ is another stand-out moment on this record. With its slick production, it sounds like a perfect storm of everything Underoath does best. Atmospheric, intense, and completely immersive. The track builds steadily, with Aaron Gillespie’s clean vocals weaving through a sea of feedback and crushing guitar riffs, before diving into its anthemic chorus. ‘All The Love is Gone’ is proof, if proof were needed, that they can definitely still write a track that’ll stick in your head for days.
‘Loss’ is a heavy track, both musically and emotionally. The guttural scream of lines like “Now I’m stuck in this white-tiled hell, lining up in a straitjacket” is something that will stick with the listener long after the song finishes. This track manages to execute balancing heavy riffs with its dark and vulnerable subject matter – everything ends, and no matter how hard you try to negate it, “you’ll still be left with loss”. Though it’s dark and somber, it’s surprisingly infectious, with each listen uncovering new layers that make it stick in your head even more.
If there’s any criticism here, it’s that some of these moments feel like they’re almost too familiar. The band has mastered this aggressive sound, but when you’re given so much of it in quick succession, the energy starts to blur a bit.
The guest spot from Troy Sanders of Mastodon fame on ‘Vultures’ is a high point of the album, adding an extra layer of heaviness. As someone who is known for both his clean and harsh vocals, on this track Sanders’ offering is a melodic one, blending with Gillespie’s and creating a wall of sound that’s both gritty and raw. It’s one of those moments that hits harder because of the collaboration, reminding us how powerful a guest feature can be when it’s done right.
‘Spinning In Place’ is another standout, stripping back the usual chaos (for the first half of the track, at least) for something a little more melodic and contemplative. It’s here that the band shows how comfortable they are with blending different textures. The track feels like it could’ve been pulled from their earlier records, but it also feels fresh, like the next step in their evolution.
‘Teeth’ doubles down on UO’s reputation for genre-bending with a beat that is reminiscent of what can only be described as… UK Garage? It’s one that’ll have you double-taking and checking you’re listening to the right album until the screams come in around the 20 second mark. It’s weird, but it works – and does a stellar job of re-capturing the listener’s attention, had it gone elsewhere in previous tracks, before launching into a gorgeously aggressive breakdown exactly one minute in. ’Shame’, the track that directly follows it, is a real ear-worm, with a truly belt-able chorus.
The final stretch of the album, including ‘Cannibal’ and ‘Outsider,’ wraps things up with a mix of brutality and introspection. The former’s title says it all; it’s wild, unrelenting, and totally unapologetic. ‘Outsider,’ though, serves as a quieter, more atmospheric conclusion. It’s a slow burn, but it’s a perfect closer, wrapping up the album’s emotional journey with an air of mystery and leaving you with a lingering feeling of unease.
Ultimately, ‘The Place After This One’ is another bold chapter in Underoath’s storied career, proving once again that they’re not afraid to take risks or push boundaries. It’s heavy, emotional, and experimental in ways that will challenge listeners, but it’s also a clear statement that Underoath is not done breaking boundaries. They’ve delivered an album that is experimental, heavy as fuck, cathartic and darkly beautiful – the kind of record that stays with you long after the last note fades.
KATHRYN EDWARDS