If one were to list the most legendary bands to come out of Canada, Silverstein should perhaps top that list. They’ve been a mainstay in the alternative music scene for over two decades now, and not without good reason. Some of their early songs are among the biggest in alternative music, and they’ve also put out great releases on a consistent basis for their entirety of their careers. In fact, Silverstein was one of the first bands I tried out when I was exploring the heavier side of rock music. (Let’s ignore the fact that I thought my friend was suggesting me Bruce Springsteen). Thus, it goes without saying that I was excited to be reviewing Silverstein’s upcoming 10th(!) studio album, Misery Made Me, out this Friday, May 6th, via UNFD.
Immediately, the opener contextualizes the title of the album, Misery Made Me. The lyrics reveal a level of acceptance of the band’s respective miseries, but with recognition that the band is hardened by the challenges they’ve faced. ‘Misery made me; nothing can break me’ screams vocalist Shane Todd. It’s a frenzied opener, in a good way, albeit a tad one note.
Next, “Die Alone” is noteworthy to me, because the beginning of the track feels so nostalgic. The emo cadence to Shane’s vocals, and the nature of the lead guitar makes the track feel like it’s ripped out of 2005. But then, the majority of the song sounds more like something off an Underoath record, so it’s nostalgic on multiple fronts. The anger and aggression on the riffage, as well as on the dual vocal front between Shane and featured Andrew Neufeld of Comeback Kid, feels palpable. I also fucking love the Wolf of Wall Street sample, though I wish it was louder in the mix. I just really enjoy that Silverstein is putting out some of their most heavy material in year 22 of the band’s existence, too. I think we all enjoy that, no?
“Ultraviolet” presents a vulnerable moment for the band, as Shane sings about the feeling of powerlessness under the assault of the chemicals in your brain, personified by ultraviolet light. There’s a well written chorus here, but I can see why this song was a single if the goal was trying to appeal to the largest audience possible, as this is a bit by-the-books when compared to any of their material. The same can be said of the following track, “Cold Blooded”. I like the sentiment, as the state of human nature in modern day is always worth talking about, but the message is less of a message, and more of a presentation of a question. I just think it’s a track that could’ve been left on the cutting room floor or expanded upon. The feature of Trevor Daniel simply comes and goes, as well.
I’d group “It’s Over” in with those tracks, except it’s a couple steps removed from the simple level of song writing in the aforementioned tracks. This song certainly continues to explore the main themes of the album as a whole.
‘All the violins won’t make us sink slower // Put me in the ground, throw the flowers, it’s over.’
The use of repetition in the metaphors surrounding this feeling of hopeless really drive the point home, and the imagery is tasteful and creative. It feels like an end of the world anthem despite the blaring horns, and despite the feel-good melodies. The bridge is also a super strong section, and even a high point on the album overall. There’s a dope guitar lick that kicks it off and the instrumental remains quite dynamic for the duration while Shane belt some solid screams. I wish it was expanded upon, as it devolves into another chorus before the track just ends, however.
“The Altar/Mary” is a special track – one I could not help but gush about. It kicks off in epic fashion with Shane just absolutely crushing his screaming performance. The riffage does not disappoint either, as Silverstein certainly brings the heavy all around on this one. Just when you have the song figured out, a beautiful softer section interrupts it before it explodes into heaviness all over again. The back half of the song also takes a new, separate turn. I won’t spoil it, but it seems like the band took some extra care with the song writing on this one and it makes for what I think will be an easy fan favorite.
Shane Todd and Mike Hranica (The Devil Wears Prada) are on a track together, need I say more? “Slow Motion” brings these legends together on a well put together cut. Hranica steals the show as his iconic vocals are laid perfectly over a breakdown. I think that without Hranica, the song is just ok, but luckily that is not the case.
“Bankrupt” was the first taste of Misery Made Me whether we knew it or not, at the time, and what a first taste it was. I’m ashamed to admit that I was late to the party, but Silverstein quietly put out one of their best songs to kick off this album’s release cycle. I love how dissonant and full of attitude this track is. This is best exemplified in the bridge where the nasty guitar tone climaxes, and Shane absolutely goes for the throat with his vocals. Some of the verses can feel a little clunky, but I’ll forgive it since the track is new terrain for the band.
“Live Like This” is newly released at time of writing this review and I’m happy to see fan reception is positive. It’s a bit softer for them, and the feature of nothing,nowhere is slightly out of left field, but I think he adds a lot to the track. His vocal style works really well with Shane Todd, adding a lush juxtaposition to Shane’s aggressive style. The messaging of the track is straightforward, albeit a bit melodramatic, but I think it makes for a catchy chorus and a song that fits nicely within the album. The album then concludes with the ballad of “Misery”, which I think caps off the album nicely on a narrative front, but it’s not the type of cut that I’d come back to.
At this point in Silverstein’s career, one can almost take for granted the fact that they’ll release a great record every couple years. I know I’m slightly guilty of this. However, this allowed Misery Made Me to pleasantly surprise me with its thematic depth, heaviness and new turns for the band. They did not reinvent their sound, but Misery Made Me acts as a fantastic vehicle for delivering a new version of their sound that new and old fans alike should love.
7/10
You can pre-order the album here before its impending release on May 6th. And for all things music, check back with Boolin Tunes.