Post-hardcore Canadians Silverstein are surely now veterans in the game after celebrating the tenth anniversary of signature album ‘Discovering The Waterfront’ and releasing studio album number eight, ‘I Am Alive In Everything I Touch’. Very little has changed over the years. The band have kept a relatively consistent line-up since their beginning and still incorporate their heavy riffs and screaming vocals with charming singing and melodic choruses.
The later albums have seen Shane Told put pen to paper in the form of concept albums, and this offering is no different with the record split in to four segments; Borealis, Austeralis, Zephyrus and Eurus note the key four points on a compass. But, you’d be forgiven for overseeing this and just enjoying the same rock emotional hard punk that Silverstein always bring.
Single and real album opener (disregarding the atmospheric city noise recording ‘Toronto (Abridged)’), ‘A Midwestern State Of Emergency’ hits the perfect combination of clean chorus vocals and harsh aspects of the verses with a particularly enticing breakdown bridge; the ideal choice to promote the album as a front running track.
As a standard template for most songs, Silverstein manage to ensure that there isn’t a monotonous nature to their music by keeping a high standard of catchiness and anticipation. ‘Heaven, Hell And Purgatory’ builds up the excitement more and more to get to the sing-a-long and then moulds back into the screams with care, and ‘Face Of The Earth’ stands as one of the most memorable hooks in Silverstein‘s history.
“I am alive… in everything I touch” screams out at the beginning of ‘Milestone’ for a slow yet heavy entrance to the track that quotes Timothy Findley’s book, ‘The Wars’. It doesn’t take long for the song to take a welcome fast-paced punk turn just as we’ve heard the band take on in ‘Short Songs’ back in 2012, showing they can take influences from a large spectrum of the music industry. Even the slow ballad takes name under ‘Late On 6th’, where Told shows his worth as a singer, but also during closer ‘Toronto (Unabridged)’, which has far more interest compared to its opening partner. The acoustic guitar brings the tone down, yet the emotional singing matches the regular heavy material to keep that natured sound for a fitting end to the triumphant return for the experienced band.
This is a Silverstein album for Silverstein fans, and a decent one at that. ‘I Am Alive In Everything I Touch’ is proof that the band are still as strong as they were ten years ago and show no signs of complacency, disconnection from their fans, or changing their musical attributes at any stage.
Written by Michael Heath (@MikeBeef)