Hailing from Orlando, Florida, Anberlin formed from the ashes of various other area projects. Led by the soaring vocals of Stephen Christian, the positive-thinking Anberlin also included Joseph Milligan (guitar), Nathan Young (drums), Joey Bruce (guitar), and Deon Rexroat (bass), and presented an alternative pop/rock sound that, while inflected with the earnestness of emo, was closer to the mature stylings of Third Eye Blind. A five-song demo garnered Anberlin the attention of Seattle-based indie label Tooth & Nail, which signed the group in 2002. Blueprints for the Black Market marked the band's debut in May 2003, and Anberlin supported the album with shows alongside groups like Fall Out Boy and Story of the Year. Second guitarist Nathan Strayer later joined the lineup, and Anberlin returned in February 2005 with Never Take Friendship Personal. Their third record, Cities, appeared two years later and debuted at number 19 on the Billboard charts; soon after its release, however, Strayer made his exit and was replaced by former Acceptance guitarist Christian McAlhaney. Released in 2008, New Surrender saw the retooled band joining the roster of Universal Republic Records and enlisting the help of Neal Avron, who had formerly produced records for Fall Out Boy, Yellowcard, and New Found Glory. In early 2010, Anberlin went into the studio with Grammy-winning producer Brendan O'Brien, and later that year released their fifth studio album, Dark Is the Way, Light Is a Place. The compilation Dancing Between the Fibers of Time: The Best of Anberlin's Tooth & Nail Years appeared two years later. In late 2012, Anberlin released their sixth studio album, Vital, which featured a heavier rock and metal sound colored by some electronic flourishes.
All Get Out:
The road is family—the disciplining father, the nurturing mother; exist as shadows at each stop to any band betrothed to relentless touring without a safety net. With miles behind and miles ahead, life in a van will change a band; and All Get Out are no exception. From the wasted days stranded, to the desolate moments of doubt, to the nights where immortality stretches through bended notes, two-hundred and fifty shows a year has shaped the band known for their attitude and angst on display through high woven volume into a refined framework fusing gambled moments and glossy catchiness.
"We sound like we've been on tour for three years. We've been smoking and driving, and we don't smell too good," Nathan Hussey, singer and guitarist, defining the coming of age sound on their full-length debut, The Season.
In 2007 the foursome from Charleston, SC found themselves with two EPs, stumbling into regular weekend tours of the South. Soon three days became a month and a month became six. A play-anywhere-for-anyone ethic kept All Get Out on tour for three years. A loyal fan base that has been equally enamored and entertained with their big ditch, bigger valley sound has grown with them, anticipating when the band would enter the studio again.
Acting as a centerpiece to an album with running themes, the title track for The Season puts all the moments that have shaped the members square into the light. "While touring is fun and a dream, there were times where all of us wanted a wall to punch and cry and wished we were home, or had a home." Hussey explains. Writing in the moment, truly unfiltered, each verse displays specific moments of disarray the band found themselves in: broken friendships, fights, and empty wallets. In the end The Season is about moving past it all so you can keep on driving.
Just as All Get Out accidentally ended up spending the formidable part of their '20s counting mile markers, so did The Season unintentionally transform itself into a pop record when the band began tracking with producer Matt Malpass (Lydia, Copeland). Still visceral and soul-bearing as before, The Season stretches All Get Out into the frequencies beyond reactionary abrasions.
Rather than discard older material that dated back to 2007, when a much younger All Get Out wore relationship dirt all over each melody, the songs were kept for nostalgia, giving everyone a chance to hear how the band grew. Songs like My Friends, Son of Mine, Don't Let Me Go and Girl Gun display an innocence, but the rest of the album shows a band aware that the horizon holds more than can be comprehended. Even Hussey has taken himself out as the protagonist of each song, changing his voice into a character that meanders in, saying "hello", as the much bigger story unfolds.
"It's a book on the history of our band," Hussey says of album. "Now we start another Season."