First Impressions: Blindside – With Shivering Hearts We Wait
May 13, 2011Posted by on
Reviewed By Tyler Hess
Well it may have taken a year longer than we expected the hiatus is officially over with Blindside returning to the music scene as they are releasing “With Shivering Hearts We Wait”. It has been way too long since they independently released The Black Rose EP, but those who pre-ordered WSHWW have already heard the new album, which is set to be released worldwide on June 7th.
I’m saving my full thoughts for release week for those who couldn’t fork out the hefty cash for the pre-order, but I wanted to start a discussion for those who have already heard the whole thing, those who have been following the weekly release of a new song on their website and for those who are still eagerly anticipating for the CD or vinyl to be doled out before letting their ears in on the listening party.
The biggest question that we all had is probably which Blindside were we going to get? There’s the early hardcore sound that the band had long abandoned, but many still have a high level of nostalgia for, despite those days being numbered. Then there’s the height of their popularity that they had with “Silence” and “About A Burning Fire”, followed by the oft-maligned experimentation that was found in the heavy dose of electronics found in “The Great Depression”.
The answer is mostly what one would expect, as Blindside seems to have mostly hearkened back to what made them almost famous, very much following a path that is most likely to make fans of “Silence” happier than others. Although the first couple of songs rely more heavily on deep instrumentation than a set of vocal claws to hook you into the album, it’s the middle of the album that shines. From the ironic format of “Monster on the Radio” that is practically a pop song to the hard hitting emotions of “Bloodstained Hollywood Ending” to the anthemic “Our Love Saves Us”, you’re getting Blindside at their best, as long as you agree with me with what their best always has been, but that is a much debated subject, isn’t it? The album does to trail off a bit at the end into the more electronic side of things, though not pushing the envelope quite as much as The Great Depression did.
If you wear Blindside-colored glasses, then there is nothing in here that will make you change your mind, so just sit back and relax. If you’re anything else, the hype and anticipation of this album may have been too great to ever live up to, so you really gotta go into this with tempered expectations to enjoy the quality of music that is really there, especially with the focus on the aesthetic of the instruments more than a catchy melody for so much of the album. It isn’t likely that this will become everyone’s favorite Blindside album, not with so many years of nostalgia to rely upon for so many people, but if you don’t find a way to pick this up in some format, then you’re still missing out on a really solid album.