addressed by name," though all of these mentions were in "exclamations of desperation". The main lyrical themes of the album expressed pain, weariness, and frustration, "but not without the awareness that things need to change". These themes were praised by AllMusic reviewer James Christopher Monger, which stated that "while Underoath explore their faith with both reverence and suspicion, something that sets them apart from the polarizing righteousness of many CCM acts, their crossover potential remains huge, as the prevailing themes of isolation, anger, introspection, and the quest for self-confidence are universal". Drowned in Sound writer Raziq Rauf said there was "no reason to treat the explicitly religious content" of the release differently from other emo albums, as it "covers the same bases of heartache, frustration and the inevitable exhaustion that results". According to the band the lyrics were personal to Chamberlain, relating aspects of his life that have affected him over the years. Burgess noted Chamberlain's lyrical presence, saying that "between Chamberlain's deeply troubled writing and [...] Gillespie's, Define sounds like a group-therapy session put to tape" Songs The mathcore track "In Regards to Myself" opens the album, with Chamberlain expressing the rawest vocals from the band since their second studio album Cries of the Past (2000). It was reminiscent of the work of labelmates Norma Jean, with a number of dissonant guitar parts. "A Moment Suspended in Time" showcase Brandell, McTague, and Smith's contributions to the band. "There Could Be Nothing After This" deals with leaving the past behind in lieu of a life of faith. The metalcore track "You're Ever So Inviting" is followed by "Sálmarnir", a song that consists of the Bible passage Psalm 50 being recited in Russian by a friend of the members. The title comes from the Icelandic word for "Psalms"; for its second half, Dudley is head repeating it in English in the manner of a Televangelist, backed by the crowd noise. Its ambient electronica sound, powered by Dudley's keyboard parts, recalled the work of Sigur Rós. "Returning Empty Handed" open with a quiet instrumental passage, which gives way to a heavier section, before ending acoustically; over the course of its duration, it changes from mathcore to post-metal. The first half of "Casting Such a Thin Shadow", which moves with a space rock pace, touches on post-rock and post-metal in the style of Pelican. It is mainly instrumental until Chamberlain's voice appears four