Who are these guys? That question may be the first thing that comes to the minds of Underoath enthusiasts who have known the band since its inception.

The band is certainly sporting a new look these days, having parted ways with the last founding member and drummer/vocalist, Aaron Gillespie. But as longtime fans will soon find, Underoath’s latest, “Ø (Disambiguation),” is the band’s most natural-sounding record yet.

The most glaring difference is the conspicuous absence of Gillespie, who provided his trademark pop hook vocals to complement fellow vocalist Spencer Chamberlain’s guttural screams, to form a potent mix of post-hardcore goodness. In Gillespie’s place, Underoath added former Norma Jean drummer Daniel Davison, a move that further cemented a heavier direction for the band.

A look at the past

In 2006, “Define the Great Line” set the precedent, mashing atmospheric elements into a sound that also featured crunching guitars, furious drums and of course, impassioned vocals from the Chamberlain/Gillespie tandem.

In 2008, “Lost In the Sound of Separation” was more of the same, coming across as a little stale. But this is 2010, and “Ø (Disambiguation)” feels like the band’s freshest release since “Define the Great Line.”

Band solidifying sound

The nucleus of this band has become so solid that it’s easy to overlook the lush sound scapes created by its instrumentalists. Guitarists Timothy McTague and James Smith work in tandem, balancing heavy and light tones.

Grant Brandell’s bass lines and Christopher Dudley’s keyboard work is not to be underrated, as it is the basis from which Underoath creates their sonic landscapes. Meanwhile, bassist Brandell and drummer Davison anchor the rhythm.

The leading track and first single, “In Division,” erupts with dark, brooding energy. Chamberlain’s vocals really shine through and take the spotlight right away, but are complemented well by the rest of the band.

Vocals continue to impress

Not only does he scream as usual, but he also demonstrates an impressively high vocal range, belting out unexpectedly impeccable melodies. Davison proves himself quite worthy of the drummer’s position, supplying a raucous beat filled with complicated fills that he pulls off admirably. Immediately, Gillespie feels less missed.

“Catch Myself Catching Myself” pounds the listener’s ear with a relentless auditory assault. Guitar feedback is applied tastefully to complete the chaotic effect.
But instead of sounding like a confused mess, it comes across more like a Radiohead track, in parts when the electric guitars aren’t screaming across the speakers.

The aforementioned atmospherics are especially present in songs like “Paper Lung” and “Who Will Guard the Guardians.” They prove that this is a band at the height of their musical game.

Chamberlain’s vocals are by far the most intense they have ever been, and the singing is impressive. Fans of Circa Survive and early Saosin will appreciate the Anthony Green quality of Chamberlain’s singing voice.

The plaintive emotion is not lost in a wave of double tracking or auto-tuning — he’s the real deal, folks.

Album a new masterpiece for band

“Ø (Disambiguation)” is every bit the masterpiece “Define the Great Line” was, and fans new and old alike will find plenty to love on this offering.

Musically, you can’t ask for a more solid, tight and confident outfit than the one currently operating under the Underoath moniker. This band isn’t for everyone because of the screaming vocals.

But those looking for a music recording that exhibits depth, skill and proficiency, “Ø (Disambiguation)” is an excellent choice to consider.