With the mid-to-late aughts producing such a quagmire of melodic metalcore acts, it’s straightforward to watch why one can want to abandon ship in favor of fresher waters. But through a hazard of alienating an establimelted fanbase or falling prey to the siren song of radio rock preanxiety that continues to burrow it’s means into the scene, just how carry out you readjust course without losing credibility? Sometimes a small tweaking is all that’s essential.

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You deserve to buy Everything That Got Us Here on iTunes.


San Diego post-hardcore outfit Secrets might have found the formula for reinvention on their latest release, Everypoint That Got Us Here. Regardless of the loss of the band’s second unclean vocalist (Aaron Melzer) in as many releases previously this year, Secrets have actually soldiered on, but have made some significant sonic upqualities that serve the band well without feeling cheap or inauthentic.

Melzer’s replacement, Wade Walters, also handles bass duties, however his vocal function is among support – indeed, guitarist Richard Rogers is now the voice of Secrets. Already understood as among the strongest (and also most underrated) vocalists in the scene, Rogers shines mightily in this brand-new revamped version of Secrets. No much longer confined to chorus duty, Rogers’ melodies are even more enticing than ever.

While remnants remain of Secrets’ metalcore roots, Everypoint That Got Us Here is more akin to the self-titled era of Saosin than to your garden range Rise-core. Lead single “Rise Up” is a fist-pumping anthem, sustained by the soaring vocals of Rogers, relying on guitars and also drums to lift the song greater without the should bring it all crashing dvery own. Although there’s not a lot meat to the track lyrically, the song serves as a microcosm for this new melodically aggressive rendering of Secrets.

Throughout the best moments of Everything That Got Us Here, the band present flashes of the metalcore crunch that sustained Fragile Figures, but depend much even more on pop sensibilities and driving guitar melodies. On the stellar “Half Alive”, Rogers seethes in response to scene apathy, singing “Blfinish in, blfinish in to the mess, it’s better to fit in / They scream provide in, provide up what’s left of your innocence”. His fuming chorus of, “Ring me out to dry / Nothing left inside cause my passion left me fifty percent alive / Have I lost the fight? / Was it expected to be or should I let this die?” is a highlight of the album.

Similarly, “The Man That Never before Was” is an additional significant action forward for the band also with a track that wouldn’t sound out of location on They’re Only Chasing Safety. Even when Secrets expose their impacts, the take is refreshing sufficient that it doesn’t feel re-hamelted. “In Loving Memory” might be the closest the band concerns relying on old tendencies, through Wtransforms screaming, “Agony is my reality” over a powerful breakdvery own, however even this rendering feels even more motivated than you’d suppose.

Even so, Everything That Got Us Here has its fregulations – “For What it’s Worth” is a wannabe pop punk track that drops flat thanks to some unmotivated songwriting, while the acoustic “The One With No One” attempts to capture the spark that made this summer’s Renditions so pleasing, however ends up feeling hollow. These blemishes are certainly acceptable in light of the band’s overhaul and don’t detract from just how fun the rest of this record is.

In light of this year’s member upheaval, no one would certainly have blamed Secrets for hanging it up. Instead, the band also regrouped and pieced together the best album of their career therefore far. Everything That Got Us Here is an acknowledgement of how unstable the ride has actually been, yet with a slick brand-new sound and also a solid album under their belt, chances are that clear skies lie ahead.

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by Kiel Hauck

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Kiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple digital and also print publications and also was a lot of freshly an editor at PopMatters. Kiel currently stays in Indianapolis, IN with his wife and also their imaginary pet, Hand Dog. You can follow him on Twitter.