Underoath – “The Changing of Times”

When The Changing of Times dropped in 2002, it marked a seismic shift for Underoath. Up until this point, the band had leaned heavily into lengthy, death-metal-influenced tracks, often sprawling into the 10-minute range. But here, they tightened their focus, embracing a screamo and metalcore framework that would define their future. The record isn’t just an album, it’s a dividing line, bridging the raw early days of Underoath with the more polished, post-hardcore sound they would adopt in later years.

This was also the swan song for vocalist Dallas Taylor, whose guttural growl-shaped screams gave The Changing of Times a primal edge. Taylor’s departure after this record set up years of debate among fans about which version of Underoath was superior: the Taylor-led era or the Spencer Chamberlain-led reinvention that would follow. The arguments rage on even today, a testament to how pivotal this record was in their evolution.

The album’s highlight comes early with “When the Sun Sleeps,” a track that immediately distinguishes itself with Chris Dudley’s shimmering synthesizer intro. The synth feels almost out of place at first in a metalcore context, but Dudley’s work proves to be the glue holding the band together on this record. His keyboard work offers both melody and atmosphere, and on this track especially, it provides the emotional undercurrent to balance Taylor’s ferocious screams.

Another standout is “Angel Below,” a revenge anthem that captured the angst of countless emo and screamo fans in the early 2000s. Lyrically bitter and musically searing, it quickly became a cathartic touchstone for young listeners navigating heartbreak and betrayal. Its venom was both relatable and theatrical, helping carve Underoath a place in the burgeoning screamo scene.

“The Best of Me” also deserves recognition, with Aaron Gillespie’s drumming driving the track forward. Gillespie, who would later become an even more central part of the band, was already showcasing his immense talent here. His drumming is precise, dynamic, and creative, and you can hear the spark of what would soon become a defining element of Underoath’s sound.

Across the record, Dudley’s synthesizers shine just as brightly as the guitar riffs. It’s rare for a metalcore album to feature keys so prominently, and Dudley’s contributions are the secret weapon that keep The Changing of Times from sounding like every other release of its era. His synths add a layer of texture that makes the album sound both heavier and more expansive, an unusual duality that helped it stand out.

Production-wise, the album carries the hallmarks of early-2000s metalcore: sharp guitars, punchy drums, and a raw vocal mix that prioritizes intensity over polish. While the sound can feel slightly dated compared to modern production standards, it captures the urgency of a band in transition. There’s a sense of experimentation here, a willingness to try new things while still clinging to the heaviness of their roots.

Still, the album is not without its flaws. Gillespie’s clean vocals, which would later become a hallmark of the band’s post-Changing output, are criminally underutilized. His melodic singing could have provided balance to Taylor’s relentless growl, offering more dynamics to the record. Instead, the record leans heavily on screaming, which, while powerful, can feel one-dimensional at times.

Lyrically, the band also falls into some pitfalls of the emo/screamo era. Tracks like “A Message for Adrienne” feel bogged down by clichés and heavy-handed emotional tropes. While heartfelt, they lack the nuance that would appear in later records like Define the Great Line or Lost in the Sound of Separation. It’s the kind of lyrical content that resonated deeply with its teenage audience but hasn’t aged quite as gracefully.

Despite these shortcomings, The Changing of Times stands as an essential piece of Underoath’s history. It’s the album that drew a line in the sand: the end of one era and the beginning of another. Taylor’s final bow is powerful, Dudley emerges as a quiet MVP and Gillespie’s talent hints at what’s to come. Though imperfect, it’s a landmark record that set the stage for Underoath’s eventual rise to the top of the post-hardcore and metalcore world.

For Fans Of:

• Norma Jean – Bless the Martyr and Kiss the Child
• From Autumn to Ashes – Too Bad You’re Beautiful
• Thursday – Full Collapse