Whatever the reality of the situation, to an outside observer, The Letter Black appeared in 2021 to be itching for a fresh start: a couple Tooth & Nail studio albums (not counting EPs/remixes), an EMP release, then a recent signing to Rockfest Records. To anyone who lived through 2020 and 2021, those years were not the best time for any artist or band to gain traction in the public consciousness. The concert tours that did occur in 2021 (mostly outdoor venues) were lightly attended no matter the band. When this album became available in August of 2021, it had garnered a couple hits on the Christian rock charts throughout the year, yet still didn't land as hard as it could have. And that's too bad.

By the time Sarah Anthony's growling "we're gonna rise" kicks in about eleven seconds into the first track, the listener knows the band isn't quieting down after over a decade since their first full-length. While song two dials the intensity back, song three falls somewhere in between, tempo-wise (and the latter deals with the tough subject of suicide). The Letter Black, though, seems to want to be sure you know that whatever the subject matter, they are here to rock. Just when you think you know what to expect, guest Blake Whiteley steps in on "Drowning" to bring the only rapping on the release, and some of the most spiritual content of the album.

The minor complaints, overall, mainly show up roughly two-thirds into the album, with somewhat generic lyrics in "Unbreakable," and the out-of-place lyrics of "Throwing Darts" that don't seem to fit thematically with the other nine songs. (A cool "hey, hey" refrain that should be fun to sing along with, as well as a short but nice guitar solo, do elevate the track, though.)

The lyrics in total, even though still sometimes repetitive in a couple spots, have improved since their debut with Tooth & Nail. Listening to their four main releases in order (not including Breaking the Silence), it is undeniable that 2017 independent album Pain was a solid step up in all major factors, and that this album, though not as heavy as Pain, is a slight improvement again.

The final song, "Born for This," mixes earlier album elements: some good guitar work from Mark Anthony, some scream/growling from Sarah, and the album's second noted guest star, TFK's Trevor McNevan. The song seems a fitting closer for their self-titled release. On "Born for This," all the elements work (even the vague lyrics), and it's difficult to find fault in a song this cohesive and destined to stick in your head the next day. It's surprising the band went the self-titled route when this song seems the logical title track both for musicality and the inherent statement of the title. In any event, this is the band's best effort and, in the roughly three years since the album dropped, it is a shame that The Letter Black didn't receive even more attention than the release has since. Hopefully that will change, and this will eventually be marked as the beginning of a fresh start and the recognition the band deserves.