Anberlin Churns Out Some Vital Rock Noise

Anberlin doesn't shy away from the deeper relationship issues, both with those closest to them and with bigger questions that get them asking "Are we doing this whole being alive thing correctly?" "Vital" embraces the complex issues and, in some cases, lends undeniable octane to the musicianship surrounding them. Take "Desires" for instance. From a rock yelp point of view Joseph Miligan holds his guitar prowess out on an entirely different level. If you listen closely maybe you can hear the fretboard melting under his wicked assault. His work here proves that ax melting isn't solely the province of mainstream guitar gods. Though they carry the somewhat stigmatized Christian rock label, this new effort isn't toothless. The aforementioned track zeroes in on the perils of being in close with someone who insists the world revolves around them, and them alone. You'd be wise to check out "Little Tyrants" strictly on the basis of Joe's demonic efforts. Stephen Christian's voice could cut through the deepest London fog. Look no further than "Other Side" for credible evidence. His pondering makes you want to take his hand, and roam where he roams. He craves warm arms to hold him. You wish for him to receive them. On this track and on "Innocents", Stephen inserts hooky keyboard passages into the framework. "Modern Age" goes toe to toe with some very real psychological concerns that way most of us down in one way or another. The fear of failing is a commonality amongst us. So is the notion that each of us is in the process of writing his own story, directing his own "film", trying to belong to some fellow band of brothers instead of staying condemned to this random drifter on the ponderosa of existence sort of blue funk. The underlying question behind "Someone Anyone" could apply to any social situation be it war, family, or marriage. Said question is "What are we fighting for?" What's a very real connecting thread among rock bands is this searching for an answer that never seems easily attainable. Nathan Young uses his drum techniques to dizzying effect. When he shifts into fifth gear during "Orpheum" you're eager to follow him through the labyrinthine maze the overall mood of the song suggests. "Am I losing control?" is the pontificated question this time around and, once you're swept in the wave of unsettled rhythm you want to fight for control right alongside him. The step up to a heavier sound suits this fivesome. They'll know doubt succeed in leaving the audiences, both potential, and already converted, wanting more.