Anberlin Albums (4)
What The Critics Say
A new lineup member, a new producer, and a step up to a major label added up to Anberlin's best sense of direction yet, and therefore their strongest output in their brief but prolific career. The band collaborated for three months in the studio to craft their Universal Republic debut with producer Neal Avron, who has helmed projects for Fall Out Boy, Yellowcard, and New Found Glory. Being their fifth album in scarcely six years, spending so much time in the studio had its share of risks involved, particularly with new guitarist Christian McAlhaney, whose addition made three songwriters in the bunch, generally a recipe for "creative differences." It's pleasing, therefore, to see how well Anberlin define themselves on this record. Their sound on New Surrender isn't as much a diversion as it is a realization of their potential to finally seize the full emo spirit in all its glory, as if their high/low, intense-yet-laissez-faire approach to modern rock was simply warming up to this point, which is saying a lot given the quality of songs and the massive following they have carved out over the years. It's not unlike Mae's progression from the critically acclaimed The Everglow to Singularity, where it could be argued that diversity took a back seat to pinpointing their own sound. It worked for Mae, and it works here for Anberlin. ~ Jared Johnson, All Music Guide
What The Critics Say
Sticky sweet pop melodies, explosive pop-punk chord progressions, "sensitive guy" lyrics. Yep, this should all sound pretty darn familiar if you're a rock fan circa the early 21st century, as there's been an endless stream of bands (for years by this point) that meet all the prerequisites of the aforementioned checklist. And on their 2007 release, Cities, there are certain moments that you can definitely add Anberlin to this list. Thankfully, they don't specialize in that annoying frat-boy-esque shtick that some pop-punk bands do; instead, Anberlin can be quite an ambitious bunch that go the emo route. While songs such as the album opening "Godspeed" sounds like your average pop-punk band of the moment, tracks such as the acoustic guitar-driven "The Unwinding Cable Car" is emo at its most naked (and includes some pretty darn impressive vocal harmonies). But for the most part, the tunes sound like a hopeful trying to win over the judges in the latest episode of Rockstar, especially on such tracks as "Adelaide" and "Hello Alone." Nothing too groundbreaking here, but nothing cringe-worthy, either. ~ Greg Prato, All Music Guide
'Never Take Friendship Personal'
Release Date 2/1/2005
Tracks 11
Label Tooth & Nail
See Album Tracklist and Review
What The Critics Say
Band names are getting dumber and dumber in the Christian rock world, even as the bands get better and better, the guitars bigger and tighter, and the hooks more and more irresistible. All of those trends are epitomized in the sophomore effort by Anberlin, which producer Aaron Sprinkle and engineer J.R. McNeely mixed in such a way as to best approximate the band's ferocious live energy. Try not to be put off by the pretentious song titles ("Audrey, Start the Revolution!," "[the symphony of] blasé," etc.) -- Anberlin is primarily concerned with sweeping you off your feet by means of huge, swooping melodies and rich harmonies, all powered by blunderbuss guitars and tightly structured production. "Paperthin Hymn" is one of the prettiest slabs of guitar rock released in the last ten years; "Stationary Stationery," despite its too-clever-by-half title, is one of the most perfect pop songs of 2004. "Runaways" somehow manages to sound simultaneously like Oingo Boingo and Loverboy -- someday someone is going to have to figure out how they did that. Of this album's 11 tracks, only two are less than brilliant, and only one of those (the superfluous instrumental "Heavy Hearted Work of Staggering Genius," har har) is less than very good. Very highly recommended overall. ~ Rick Anderson, All Music Guide
'Blueprints for the Black Market'
Release Date 5/6/2003
Tracks 11
Label Tooth & Nail
See Album Tracklist and Review
What The Critics Say
Seattle's Tooth & Nail has developed a reputation as the home for positive-thinking, hookalicious pop-punk and alternative combos, many sporting fancy haircuts and a Christian-influenced worldview. Anberlin fits this mold. Led by the soaring, slightly froggy-voiced vocals of Stephen Christian, the band also includes Joseph Milligan (guitar), Nathan Young (drums), Joey Bruce (guitar), and Deon Rexroat (bass). Blueprints for the Black Market features 11 songs buffed to a gleaming finish by producer Aaron Sprinkle, ex of Christian punkers Poor Old Lu. While it accesses the earnestness of emo through a side door, Blueprints removes punk and hardcore from the equation entirely. Some songs feature dynamics evocative of these genres ("Naïve Orleans," the post-hardcore stylings of "Glass to the Arson"), but those same tracks are cleaned up with electronic programming or lush chorus vocals that are much closer to bland alternative pop/rock. The bopping "Foreign Language" marries the yearning of Cutting Crew to a post-new wave beat, but a song later Anberlin is channeling the grandiose proto-metal of Tool, albeit without that group's slithering underbelly. This obviousness doesn't do Blueprints for the Black Market any favors. It's such a glimmering recording, and the songs are so minutely arranged to represent a particular sound, that the album ends up becoming an utterly pleasant bore. Christian and his cohorts turn in some determined performances, but they lack any definition. A preening cover of the Cure's "Love Song" doesn't help matters. ~ Johnny Loftus, All Music Guide
