Since Switchfoot did record this album in a studio and only in greenrooms on their tour. This album is creative and very well put together. If you didn't know, they would record a song, then ask their fans, wherever they were playing, if they liked it. With that kind of feedback, it is bound to be good.
This album is everything one can come to expect from Switchfoot with a major label release. The production has been significantly upped, leaving each song more lush and full than any recording the band's done previously, without compromising the song's raw energy.

The band has never been known as one that has an especially evangelistic message. So when the listener looks into the "everything is meaningless" messages that Nothing Is Sound adopts, finding the word "Lord" as the only potential reference to our Jesus (used thrice in one song), there really shouldn't be any surprise. The band's debut The Legend Of Chin possessed a similar subtlety.

But where Nothing Is Sound lacks in direct spiritual and Christian message, it makes up with hopeful or relevant writing. Songs like the hooky first single "Stars" point out the problems with being self-centered and the implication of something greater beyond ourselves. It also provides a slam on post-modernism. "Lonely Nation" Is my favorite. It shows a side of our world that maybe only christians may see. The view of our world is lonely and searching for something all the time, but missing it everytime. "Easier Than Love" is a beautifully blunt attack on the world's view on sex and love, declaring the obvious reason that "sex sells" in the media is because sex is easier than the more difficult and seemingly impossible "love." The catchy rock song opens with bold verses like "Sex is currency / She sells cars, she sells magazines / Addictive, bittersweet, clap your hands / with the hopeless nicotines..." It's songs like this that offer a message mainstream listeners seldom hear and probably doesn't even know what to do with. It's refreshing to say the least.

Ferociously catchy songs like "Lonely Nation," "Stars," and the Bob Dylan-inspired "Happy Is A Yuppie Word" drip with emotion and passion, all the while capturing a fine sense of the band's engaging live performances. The album is sensitive and desperate, while offering glimmers of light at the same time. "The Shadow Proves The Sunshine" is a rock ballad inspired by a fact-finding trip Switchfoot took to South Africa earlier this year to see for themselves what poverty and disease was doing to the country. "The Blues," which Foreman penned on New Years Day 2004, is a song about finding beauty in the world ending and resonates with the pretty laments of songs like "Let That Be Enough" from the band's second album. Musically, much of the album remains in the same vein as signature Switchfoot fare. The bittersweet ballads are all there, and the rock element that band has explored in recent years is worked further throughout the album's songs. But fans of the more stripped-down sound of their earlier releases may have a hard time swallowing the more produced approach.

Nothing Is Sound is a sonically rich album that fits nicely among the band's impressive discography, offering fans something new, but keeping it very much Switchfoot from start to finish. Whether or not the mainstream continues to embrace the band's music, Switchfoot remains to be one of the best bands in today's current music scene.