Screamo came along in a big way in the early part of the 21st century, thanks in large part to bands like Howthorne Heights, Atreyu, and the longest-lasting of the group, Canadian five-piece Silverstein. Now an astounding six full-lengths into their career, Silverstein are a rare breed who actually fulfilled a full contract with Victory (a feat only a few can say they've accomplished before), and now that they've signed on to Hopeless Records (who release the band's 2011 release Rescuse), the band have hit their creative stride and found the fountain of youth, and are using their creativity in any way possible. And that creative freedom has manifested itself in this year's short-but-sweet Short Songs.
Album opener "Sick as Your Secrets" is an interesting number, as it features a fast-paced riff that is screamed over beautifully by vocalist Shane Told. Told's voice has done what few have been able to, as he has withstood the test of time and hasn't had to drop his screams down at all (former labelmates Atreyu can't say the same). "Sin and Redemption seems to slow the pace down, but quickly changes pace and features the scream-sing stylings fans of the band have grown accustomed to. Essentially, this is a signature Silverstein album, presented in a tighter time frame. However, that risk makes the album feel rushed, and for a band who seems to carefully place each drum hit, it feels a bit unusual to see the band making songs that don't feel as planned out as the others, especially when you consider the band just released Rescue last April. It's not a bad thing by any means, just something interesting that the band have never done before.
"Brookfield" is a nice nostalgic number, as Told takes the listener back to his hometown for a minute and a half, and the band are there with him, providing a summery feel to the song behind Told's look back to simpler times. The song is a rarity on Short Songs (save for the acoustic number "Sleep Around," which is another standout), as Told utilizes his screams far more than his clean vocals, a feat not seen from the band in a long time. "One Last Dance" feels a little out of place, only because it isn't the album closer. The song provides a bigger sense of finality, but when you start complaining about the track order of an album, there isn't much to complain about otherwise.
The fact of the matter is that at this point, Silverstein have earned the right to release whatever they want. They've outlasted just about every other screamo band in terms of staying true to the genre (Underoath has gone more and more post-metal with each release) and just staying together (RIP Alexisonfire, A Static Lullaby, and Thursday), and now that they're on a label that provides them with more creative freedom in Hopeless Records, the band have finally been afforded the time and opportunity to explore their sound, and Short Songs find the band stepping outside of the comfort zone they've established for themselves and trying something very few would ever even think to try. The best part of it all, of course, is that the band stay true to who they are, and are still some of the very best at writing music in this scene.
The Bottom Line: Short (haha), sweet, and to the point, Short Songs `is yet another cornerstone on Silverstein's illustrious career. In a scene where a band's life cycle is barely 4 years, the band has outlasted more than their fair share of fads and trends, and remain a beacon of hope that a band who focuses on making good music still stands a chance.
Recommended if you rock: ambition, The Wonder Years's "Dynamite Shovel," keeping it real, any of Silverstein's previous work
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