We are creatures of habit. We find comfort in regularity. When something comes along that’s outside of our typical norm, it’s jarring, and at times we struggle to adjust. For the most part, we as humans live by the “if it’s not broke, why fix it mentality.” It’s how we live our lives and the theory shines through in our music listening habits. When we find contentment and solace in a particular band’s music, we’re not always pleased when that artist changes styles. It’s disrupting. For millennials, we’re currently going through a time in which the band’s we grew up with in the mid-2000s are stylistically maturing. Let’s face it, we’re struggling to come to terms with Fall Out Boy’s electronic evolution.
Dead Reflection showcases Silverstein’s growth and the band’s transition into something a bit poppier and more mainstream. However unlike other bands, Silverstein stylistic evolution feels natural. Since the turn of the century, the Canadians have released nine records, a handful of which are indisputable classics. When played back through, Dead Reflection fits seamlessly in the discography and picks up where I Am Alive In Everything I Touch leaves off.
The record opener “Last Looks” feels like it could’ve fit anywhere in the previous album and is built-in the band’s roots. It sounds like classic Silverstein, as vocalist Shane Told effortlessly transitions between heavy screaming and melodic singing. The first half of the album lives in that world that fans have come to love with Rescue and This Is How The Wind Shifts. Take in singles “Retrograde” and “Ghost” – both find a balance between finesse and heaviness, an artistry that Silverstein boasts better than most.
Back to that evolution though. Tracks such as “The Afterglow” and “Cut and Run” highlight Silverstein in light we’ve seldom heard in the past. It’s always been evident that Told’s possessed one of the better singing voices in the genre, and after 17 years he’s finally able to showcase such. The former erases much of the screaming that takes up the first half of the record. It’s fresh take on Silverstein and not one that lasts long. In two songs time, Told harnesses his slow, screaming breakdowns once more for “Whiplash” which creates one of the best tracks on the album before finishing with “Wake Up”. Wake up, this isn’t a new Silverstein, Dead Reflection flaunts each and every one of the band’s beloved talents.