How on earth do Silverstein always find a way to top themselves? Whatever the secret, they’re not sharing – but that’s okay as long as they keep throwing stellar records our way. Concept albums may be hard to pull of well but when they are, the results are always interesting; and I Am Alive In Everything I Touch is exactly that.
The album is split into four chapters: ‘Borealis’ (North), ‘Austeralis’ (South), ‘Zephyrus’ (West) and ‘Eurus’ (East). Each chapter represents a different geographical region and each track in that chapter tells of events that took place there. So basically, this is Shane Told opening his heart to us in the most honest of attempts. I Am Alive In Everything I Touch is a journey and you can really tell the Canadian five-piece have put a great deal of effort in sewing that together and bringing it across with these songs.
Touching on the loneliness that comes with the territory of being on the road, the story follows through the journey of leaving home and eventually finding your way back. There’s just something a little eerie about where it all begins: ‘Toronto (abridged)’, which is a real life recording from the city. Building a raw setting; the sense of curiosity you develop is finally satisfied with acoustic closing track ‘Toronto (unabridged)’. Despite the homecoming, nothing’s quite the same and that mirrors the transformation that comes with the journey.
Melodically, single ‘A Midwestern State of Emergency’ is very contemporary post-hardcore, fitting right in amongst modern day favourites like Pierce The Veil and Crown The Empire. As catchy as it is, it isn’t even the best this album has to offer. Chapter two ‘Austeralis’ begins with two strong hardcore efforts before the buildup flows down into the beautiful calm between the storms ‘Late on 6th’.
This album is a showcase of Silverstein at their finest, with no unnecessary experimental frills. By now means does this mean you can expect a monotone record; as you’ll notice between face melters like ‘Heaven, Hell and Purgatory’, stadium rock vibes of ‘The Continual Condition’ or angsty, slightly pop-punk tinged ‘Desert Nights’. It just means that after the better portion of a decade, the band have a firm grip of what they do best and only continue to excel in their element.