Silverstein
A Shipwreck In The Sand

The five-piece from Ontario was called to a prompt redemption after the half misstep and disappointing "Arrivals & Departures," and thus, two years after the last album, on 3/31, "A Shipwreck In The Sand," the fourth official release of the combo, saw the light of day.

After producing albums of fine craftsmanship like "Discovering The Waterfront," this time Silverstein presents to the public a more ambitious project that follows the line of a concept album. The album consists of 14 episodes (12 effective plus two excellent semi-instrumental mini tracks well-executed, "Their lips sink ships" and "The tide raises every ship") in turn divided into four chapters, in which each outlines a plot and a story that subsequently serves as a link between the various chapters of the work. Topics covered include fire and the desire to burn everything around us as the main pillar of the first chapter, while subsequently other themes like lies, fidelity filtered through the story of two lovers, and in the third part a captain who loses the trust and esteem of his crew are addressed.

In terms of sound, in a maximalist way, it can be stated that there have not been major genre changes, as is increasingly often the case with their colleagues, although the album flaunts a compactness, aggressiveness, and a more heavy side that seemed to have been lost on the previous album. Note how compared to the past the space allocated to screaming vocals has increased.

That here a fresher air is breathed is immediately apparent from the first two tracks. "A great fire" shows the band's more aggressive side with driving rhythms and piercing screams, introduced by piano notes and a guitar storm, revealing all its splendor in the gentle, calm chorus capable of exciting from the start and bringing to mind a historic anthem of the combo namely "Smashed into pieces."

Then comes the first single "Vices" which features one of several guest vocalists who lend support behind the microphone to Shane Told in the songs, here it's Liam Cormes (leader of Cancer Bats). Excellent track and the best along with the opener, with also here a highlighted hardcore and heavy side by heavy guitars, with frequent and continuous screams, bringing to mind "Bleeds no more" one of the singles from the first album, and it was since then that Silverstein has not presented to the public such a driven single. While more melodic, but maintaining a certain speed, it turns out to be "Broken stars."

The semi-ballad rhythms of "American dream" and "I knew I couldn't trust you" mark a decisive stop, but then it resumes with the whirling and violent "Born dead" with the scream participation of Scott Wyde, ex-Comeback Kid. Quite curious instead is the title track characterized by dialogue parts that adorn the composition, concluding with a series of prolonged chants.

This latter contrasts with "The arsonist" the hardest piece of the platter, with metallic riffs and a chaotic breakdown. However, more engaging are the splendid melody of "You're all I have" which leverages an immediate refrain and the choruses of "A hero loses everyday." "We are not the world" falls within the band's classics. The semi-acoustic ballad "The end" with its duets between Shane and the splendid interpretation of singer Lights has the task of closing the opus.

The only note I feel like making to the band regards the melodic side and the construction of it. As certain melodic choices, however, in a few tracks, turn out to be a bit too plastic and manneristic. Good performance by the whole band and the frontman who can now make greater use than in the past of his beautiful timbre for the screaming openings and the varied rhythmics of Paul Koehler behind the drums.

Overall, a good comeback for the Canadian Silverstein who manage to confirm themselves in the gotha of today's emocore bands. Three and a half stars elevated to four, all well deserved.