Disclaimer: This is a shockingly backdated review, and I’ll tell you why…

They say better late than never. Right now, I should be in full swing of planning something new I have in the works for the site, and feeling nothing but giddiness ahead of festival season. But here I am, retracing the sounds of one of my favourite bands from my formative years, Saosin, who dropped ‘In Search of Solid Ground’ back in 2009. Stick with me, please.

Not to overshare, but new music of theirs came to me in a dream. Instead of it being a premonition about songs ready to be released (though I’ll buy a lottery ticket if they do actually put something fresh out), I took it as a sign to revisit their back catalogue. I don’t know if I somehow missed the memo about ‘In Search of Solid Ground’ landing before, or why I hadn’t listened until now, but it’s realistically just an extension of what had hooked me so tightly as a teen. Their 2006, self-titled record was a game-changer for me. A buoy in choppy seas, with palpable, comfortable familiarity, and another incredible export from Reber’s reign. Of course, Cove, who handled vocals on both albums (with such precision, clarity and range), has stepped in and out of the Saosin frontman’s shoes, albeit initially after Anthony Green’s departure. But it’s become clear again why he’s really been the vehicle for positive change; the behind the magic of the group’s output. 

Although there are more modern stylistic features at play here, they’re still following a blueprint. It reminds me of the first flushes of new-music discovery in my formative years; how I used to dial the internet up and watch on YouTube what I’d read about in Kerrang! (I appreciate that makes me sound way older than I am). This yearning American emo genre 100% had my attention more than a My Chemical Romance or any of those mainstream choices. That said, their million-odd Spotify streamers might actually position Saosin as within that mainstream after all. And the fans can’t be wrong. 

Past the poignant clock artwork — decaying and fading but not melted — you get this long roll call of epic anthems. The triumphant, striding opener, ‘I Keep Secrets Safe’ is catchy beyond imagination, yet in the fiercest way; I haven’t stopped humming it since I heard it. Then, there’s a transition from post-hardcore to an indie dabble on ‘Deep Down’, which begins in this fashion but evolves into their usual sound and runs into the supercharged ‘Why Can’t You See’. 

But as with their self-titled debut, the pace goes from loud and galloping to softer and more emotionally tugging — that’s where ‘Changing’ to ‘On My Own’ comes in. There, gently plucked strings fade when there’s about a minute left, which signals a change in dynamic. You’re constantly kept on your toes, yet taken on a balladic journey. 

It was probably intended that ‘The Alarming Sound of a Still Small Voice’ delivers a ‘Voices’ comparison; it’s maybe quite obvious from the title. But it’s the first in a line of more poetic, raw tracks that lyrically lay the band bare. These are still the words of those entrenched in that emo movement. ‘Say Goodbye ‘ and ‘It’s All over Now’ present title-wise in this same way, and they deliver sonically as well. There’s a deeper-rooted sadness and cynicism to ‘What Were We Made for?’, though you’re granted permission to go from melancholic emptiness here to an impulsive need to head-bang on the bonus track, ‘Bury Me’. It’s possibly the heaviest bop on the record, before you’re gifted a series of instrumental demos — all very enjoyable.

I’ve had my socks retrospectively knocked off by this band again. Understatement of the decade. And I guess I knew I would; it couldn’t have been helped.

Saosin, what earnest, wholesome, unrivalled joy you bring. 

If you only download one track, let it be: ‘Why Can’t You See’