In an Associated Press interview regarding Anberlin’s latest album, Cities, lead singer Stephen Christian described the album as being about Man vs. Self - a marked change from their accusatory sophomore effort, Never Take Friendship Personal. Upon listening to Cities, it’s clear that his claim is true. Cities is marked by an introspection unheard on Anberlin’s previous albums - 2003’s Blueprints for the Black Market and 2005’s Never Take Friendship Personal. With lyrics like “I am the patron saint of lost causes, a fraction of who I once believed,” the lines of Cities are those of an older, more mature Anberlin.

Fans of the band will find a lot to like about Cities from the very first track. The album starts off with a short ambient intro track reminiscent of an orchestra tuning up on a busy street, then rolls straight into the hard-rocking “Godspeed”. “Godspeed” gives the impression of a song run away in a style that is patently Anberlin’s, and sets the tone for many of the harder songs on the album. Chugging at bullet-train speed, the rhythm guitar work on Cities keeps the harder songs moving at an exhilarating pace.

Producer Aaron Sprinkle again demonstrates his talent for showcasing vocals with close attention to the balance of the album. Fans of Acceptance will hear some similarities to 2005’s Phantoms, perhaps also due in part to former Acceptance member Christian McAlhaney’s presence on guitar. Fast-moving guitars, intricate drum work, and well-integrated keyboards accent Stephen Christian’s unique tenor, putting the focus on the melodic and lyrical quality of the album.

There are several excellent hard-rocking tracks on Cities, notably “Godspeed”, “Hello Alone”, and the lyrically gorgeous “Dismantle.Repair”. However, the slower songs on the album shine just as brightly. “The Unwinding Cable Car”, a beautiful ballad over acoustic guitar, shows off some well-written harmonies with Joseph Milligan, the lead guitarist and backing vocalist. The final track, named “Fin”, ties the album together, pulling lines from other songs and ending the progression with a grand coda that is electrifying.

In the increasingly crowded alternative rock genre, it’s becoming harder and harder for a single album to really shine above the rest. However, thanks to Anberlin’s unique sound, Aaron Sprinkle’s excellent production, and a bit of risk-taking from the band, Cities does shine, and brightly. Any fan of Anberlin should have this album (and probably already does), but fans of bands like Acceptance, Augustana, Waking Ashland, or Motion City Soundtrack should add it to their library as well. Even those uninitiated to the genre will most likely find something to like here.

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