Living in the shadow of a big brother is no easy task — just ask Underoath’s drummer and singer Aaron Gillespie.

Sure his side project The Almost was good, but somehow it never really seemed good enough to be the focal point of conversation. Simply uttering the band’s name would undoubtedly create comparisons to Gillespie’s other band, Underoath, and that would be that.

Here’s the thing, though. The lion, Underoath, may have nursed The Almost initially, but fast-forward a couple years and the side project is no longer a cub but a full-fledged beast, standing on its own legs.

This time, Gillespie releases an album with a solidified lineup and songs that were created collaboratively. “Monster Monster” feels more like an honest group effort and less like a solo project, switching up the band’s feel substantially.

In a stylistic sense, Gillespie’s Florida upbringing becomes far more apparent, with a plethora of gritty Southern-rock overtones. Throughout the album, the likes of country and blues manage to pop up on more than a couple occasions.

Songs like “Monster” and “Souls on Ten” soldier on with a level of soulfulness expected from a B.B. King album.

Equally surprising is the band’s choice to implement the unorthodox steel guitar, heard when the track “Hand Grenade” starts rolling. It’s interesting to note that around this point, the word “genre” seems to lose all meaning with this borderline country song—not to say that it’s a bad thing. On the contrary, the change of pace actually proves to be quite refreshing.

But what kind of album would this be if it did not contain Gillespie’s tried and true hard rock influence? He is the singer and drummer of Underoath, after all. Just listening to the album’s namesake “Monster, Monster” pretty much sums up what the title implies: a monstrous, fast-paced song, complete with a catchy chorus. If it was up to me, I would introduce this track as the first single, no questions asked. It’s just that good.

For adrenaline junkies, “Get Through” would also suffice. It’s anthematic atmosphere, and hard-hitting beat, gun straight for the heart, as well your playlist.

Even after a single listen of “Monster Monster,” you can clearly make out a discernable difference in musicianship, far surpassing any previous efforts. By allowing all the members of the band to participate in song writing, a much more organic sound is cultivated. Here, focus seems tighter and everyone’s individual abilities are allowed to flourish, not just Gillespie’s.

This is best demonstrated with the albums first single “Hands,” a U2/Kings of Leon-esque ballad. Here, the chorus’ echoing guitars play off Gillespie’s yearning voice beautifully and resonate with a heartfelt allure. It’s debatable whether or not this song is a viable candidate for radio play, but the overall musicianship isn’t. It all screams with a bright and passionate red.

And that’s precisely the adjective that best summarizes the album: passionate. The band really is far more invested in the album’s songs, and it really shows; you can practically smell the blood and sweat.

For that reason alone, we should not make comparisons to Underoath because The Almost is a completely separate entity. The heart is in a different place all together. The Almost shouldn’t be looked at as an extension of Underoath, but rather a necessary complement. If Underoath is night, The Almost is day, and that’s exactly what Gillespie intended it to be.

“Monster Monster” proves to be not only refreshing but a shining beacon of hope for The Almost’s independence. While it may not outshine Underoath’s work, it certainly has earned its own spot in the limelight, out of the shadows, once and for all.

Reach the reporter at dane.jarvie@asu.edu.