This year SILVERSTEIN are celebrating their 20th anniversary, a rare milestone for any band but even more impressive for one that’s been as consistently active, influential, and crowd-pleasing as the Ontario-based post-hardcore legends. The band are celebrating all year long with a packed touring schedule and the release of their ninth studio album, A Beautiful Place To Drown, due out March 6th from UNFD. It’s an album that fittingly encapsulates the best of Silverstein while pushing their sound into daring new territory. Today the band are sharing the record’s blistering opener “Bad Habits” which highlights Silverstein’s signature blend of aggression and melody along with a mind-melting guitar solo from Intervals’ Aaron Marshall.
Silverstein guitarist Paul Marc Rousseau explained the song’s themes saying,
“This record largely deals with the feeling of defeat that can come from trying to overcome your demons, but ‘Bad Habits’ turns that upside down. It’s resigned rather than aspirational. ‘Bad Habits’ is a banger that takes place in that sliver of daylight between recognition and regret. After action, but before reaction. For these three minutes, we’re embracing the devil on our collective shoulder.”
Vocalist Shane Told adds,
“When we finished putting together ‘Bad Habits’ I knew it was going to be a fan favorite. This song is action packed and just plain fun. It’s a rush of adrenaline and then Aaron from Intervals comes in shredding and just puts it over the top.”
Marshall’s contribution to “Bad Habits” is one of many guest features on A Beautiful Place To Drown—Silverstein may be proud torchbearers of the emo and post-hardcore scenes but appearances from artists as varied as Underoath’s Aaron Gillespie, Beartooth’s Caleb Shomo, Simple Plan’s Pierre Bouvier, and perhaps most surprisingly, hip hop fireband Princess Nokia, are indicative of the band’s wide-reaching impact and their ability to reach listeners in all worlds of music. A Beautiful Place To Drown captures this appeal in its dynamic range of sounds and styles, all made cohesive by the performances of vocalist Shane Told, guitarists Paul Marc Rousseau and Josh Bradford, bassist Billy Hamilton, and drummer Paul Koehler. Silverstein pushed themselves lyrically as well, exploring the mental duress that seems to be inextricable from the personal and societal challenges of modern life, often focusing on external perspectives and even political elements without losing the band’s trademark intimacy. A Beautiful Place To Drown is sure to please old fans and new ones alike, proving exactly why Silverstein remain a vital and powerful voice in punk rock and beyond.
Silverstein will be touring heavily throughout 2020 with extensive dates in the UK, EU, North America and more. The band will be pulling out all the stops to honor their entire catalog in the live setting, performing three sets at each show: their seminal 2005 full-length, Discovering The Waterfront, in full, a stripped-down acoustic section, and a careering-spanning batch of fan favorites. See full itinerary below.
February 07 London, UK @ Islington Academy #
February 08 London, UK @ Islington Academy #
February 11 Munich, DE @ Backstage Werk #
February 12 Frankfurt, DE @ Batschkapp #
February 13 Berlin, DE @ SO36 #
February 14 Hamburg, DE @ Markthalle #
February 15 Cologne, DE @ Carlswerk Victoria #
February 28 London, ON @ London Music Hall *
February 29 Montreal, QC @ Le National *
March 1 Quebec City, QC @ Imperial *
March 3 Boston, MA @ House of Blues *
March 4 Albany, NY @ Upstate Concert Hall *
March 6 New York, NY @ Webster Hall *
March 7 Sayreville, NJ @ Starland Ballroom *
March 8 Philadelphia, PA @ The Fillmore *
March 10 Baltimore, MD @ Rams Head Live! *
March 11 Charlotte, NC @ The Underground *
March 13 Atlanta, GA @ The Masquerade *
March 14 St. Petersburg, FL @ Jannus Live *
March 15 New Orleans, LA @ Civic Theatre *
March 16 Houston, TX @ Warehouse *
March 19 Dallas, TX @ Gas Monkey Live *
March 20 San Antonio, TX @ Vibes *
March 21 Oklahoma City, OK @ Diamond Ballroom *
March 22 Albuquerque, NM @ Sunshine *
March 24 Las Vegas, NV @ Brooklyn Bowl *
March 25 Phoenix, AZ @ Marquee *
March 27 Los Angeles, CA @ Belasco *
March 28 Anaheim, CA @ House of Blues *
March 29 San Francisco, CA @ Regency Ballroom *
March 31 Portland, OR @ Wonder Ballroom *
April 1 Seattle, WA @ The Showbox *
April 3 Salt Lake City, UT @ The Depot *
April 4 Denver, CO @ Ogden Theatre *
April 5 Kansas City, MO @ Truman *
April 7 Chicago, IL @ Concord Music Hall *
April 8 Cincinnati, OH @ Bogarts *
April 9 Detroit, MI @ Royal Oak Music Theatre *
April 10 Cleveland, OH @ House of Blues *
April 11 Toronto, ON @ Danforth Music Hall *
June 18 Dessel, BE @ Graspop
June 23 Milan, IT @ Circolo Magnolia
June 26 Ysselsteyn, NL @ Jera On Air
June 27 Munster, DE @ Vainstream
June 28 Gräfenhainichen, DE @ Full Force Festival
July 3 Stockholm, SE @ High 5ive Festival
June 18 Dessel, BE @ Graspop
June 22 Aarau, CH @ Kiff
June 23 Milan, IT @ Circolo Magnolia
June 24 Lyon, FR @ Ninkasi Kao
June 26 Ysselsteyn, NL @ Jera On Air
June 27 Munster, DE @ Vainstream
June 28 Gräfenhainichen, DE @ Full Force Festival
June 30 Poznan, PL @ Klub Pod Minoga
July 3 Stockholm, SE @ High 5ive Festival
July 10 Cheltenham, UK @ 2000 Trees# w/ Hawthorne Heights
* w/ Four Year Strong & I The Mighty
For the past two decades, Silverstein have relentlessly pushed themselves to become the best version of the band for both themselves and their fans. That determination has led the Ontario-based five-piece from their underground roots to becoming one of the most influential bands in their scene, playing two thousand-plus shows all over the globe, and selling over a million records. Now Silverstein are celebrating their 20th anniversary with the release of their 9th, and perhaps strongest album to date: A Beautiful Place To Drown.
While many bands would take their 20-year anniversary as an opportunity to rest on the laurels of nostalgia, Silverstein (vocalist Shane Told, guitarists Paul Marc Rousseau and Josh Bradford, bassist Billy Hamilton, and drummer Paul Koehler) see the landmark as a time to appreciate how far they’ve come, while also channeling all those years of experience into something new. Rousseau explains, “To me, the best way to honor the anniversary is to keep doing what got us this far. Being adventurous has always been part of what the band does—we keep focusing on moving forward.” A Beautiful Place To Drown finds the band deftly balancing their core sound—an intensely dynamic mix of melody and aggression, rooted in the energy of hardcore punk and the unabashed earnestness of emo—with their natural growth as songwriters and evolving inspirations. “We have so many fans that have been with us from the beginning and have grown up with us, but at the same time we have new people that come on board with each album,” says Told. “So we really do try to find a way to please the people who have been with us from the start while also having some modern aspect to what we do.”
Forged in their longevity, the confidence Silverstein has in one another enables the band to find this sort of careful songwriting alchemy. “Everyone has carved out their role,” Koehler says. “And we trust each other in those roles.” Rousseau, the “newest” member of Silverstein (after joining in 2012 following four years of touring as the band’s guitar tech), found his songwriting duties expanding along with his enthusiasm for pushing the band into new territory. “The only clear objective I have when I start writing is to not repeat myself,” he says. “This far into our career I was feeling a lot of freedom because we already have this large back catalog. It felt like a hall pass to see what Silverstein could potentially sound like.” A Beautiful Place To Drown fulfills that potential, seamlessly merging the band’s evergreen strengths with a daring approach to composition and production. Recorded with producer/engineer Sam Guaiana, the album’s 12 tracks blend vibrant contemporary sonics with walls of distorted guitars and pummeling drums to create a sound that’s stunningly cohesive, and undeniably Silverstein. “When we started the band, we had a lot of rules for ourselves, but once you let go you realize there’s so many ideas you might enjoy trying,” Told says. “But we’ve always made the songwriting paramount. If you boil it down to a great song, it doesn’t matter what era it’s from or what production it has.”
The opening salvo of “Bad Habits” and “Burn It Down” wastes no time in delivering the familiar Silverstein drive, but within the explosive riffs and propulsive rhythm section there’s an element of potent pop songcraft—a sharpness to melodies that makes each anthemic chorus all the more effective. The songs also begin to introduce the album’s lyrical motifs: an exploration of the mental duress that seems to become more and more inescapable in a world struggling to deal with the personal and societal challenges of modern life. Rousseau explains, “Everywhere you look people are dealing with these controlling invisible forces like anxiety and depression. It can be a suffocating presence.” Told adds, “Everything that’s going on in the world can directly affect your mental state, and that strife is so palpable that it’s found its way into the songs.” Tracks like “Shape Shift” and “September 14th” grapple with powerlessness in the face of those who abuse positions of power, while “Infinite” and “Madness” look at the toll of mental illness and the vicious cycles that can exacerbate it.
The latter songs feature two of the album’s numerous guest spots, and while contributions from other artists has been a longstanding tradition throughout Silverstein’s discography, the collaborations on A Beautiful Place To Drown seem particularly representative of the band’s past, present, and future. Old friends (Underoath’s Aaron Gillespie, Beartooth’s Caleb Shomo, and Simple Plan’s Pierre Bouvier) and new ones (Interval’s Aaron Marshall, and Princess Nokia) make appearances that feel like a celebration of the band’s wide-reaching impact as well as their ability to win over listeners in all worlds of music.
“I think people care less about labels and genres than they ever have,” Told says. “We’ve always been okay with how emo can mean so many different things, and from the start we wanted our band to bend genres.”
That willingness to follow their own path has been an integral part of the past 20 years of Silverstein, and A Beautiful Place To Drown once again proves the band’s unique compass is true.
“I think we’ve always had something to prove,” Koehler says. “When you lose that, you pack it in. But we always have goals, things we want to do and want to do better.” Told laughs, “I don’t know how other bands operate, I’m still in my high school band!” But looking at all they’ve accomplished and all that’s to come, he echoes Koehler’s sentiment: “It’s harder to gauge success these days but we’re still making what we believe is our best music. It’s nice to know that we’ve survived and we did it in a way that feels right.”
