The Bigger Picture
by
Jerry Jerry Fee is a Boise, Idaho transplant who has recently plugged his electronic sensibilities into the Nashville music community. His sound is a unique marriage between a throwback-to-the-80s-sound and...
Metal act For Today has more than earned the respect offered them by both the Christian and mainstream metal and hardcore communities. Whether playing edgy summer tour circuit Warped Tour or carefully packing gospel messages into hardcore songs in the studio, the band maintains a work ethic and integrity that grounds them despite the firestorm of criticism occasionally hurled from both sides.
Fight the Silence is the latest chapter in the band’s blistering discography. Stylistically, the project pummels the airwaves with the same bone-crushing sonic brutality that marks their previous projects, though carrying a little more texture to the songs’ arrangements.
Bringing in clean vocals rarely and eschewing them entirely for multiple songs, For Today frontman Mattie Montgomery delivers track after track with crushing force. Although maintaining a consistent level of sonic fury throughout, the album avoids overwhelming the listener with too much noise (a pitfall common for harder music) by carefully choosing when to leave breathing room in the music— choosing when to cut one or both guitars or the drums to leave auditory space. Opening offering "Molotov" is an example of this, building slowly weighing the powerhouse growling verses against a cleaner chorus carried by melodic vocalist Ryan Leitru.
The album also continues a classic For Today tradition of inserting softer, partially instrumental interludes throughout the album to help with its pacing and ground its thematic content. "Reflections" and "Resonate" are the two intermissions for this album, both featuring haunting, drifting arrangements with clear, clean vocals concisely capturing the album's themes.
Said themes largely center around actively pursuing justice and mercy in a world steeped in oppression and violent hatred, and the ever-present hope that Christ is still close even in the darkest places. Lead single and title track "Fight the Silence" in particular is a kind of anthem for the ongoing battle against human trafficking and modern day slavery. Here the band's aggression is in its finest form, standing as a heavyweight spiritual contender against cruelty.
"A Call to Arms" is in the same vein, capturing exactly what its title implies as it leads the charge. "One Voice," given musical impetus by David Puckett's drum fills, carries a memorable swagger in the riff as it calls for unity in moving against the darkness.
Indeed throughout this project, the visceral intensity of the music is given even more urgency and emotional force through its lyrics. "Fatherless" is a particularly poignant autobiographical piece examining the fall out from growing up fatherless, capturing the experience of so many youth with the words "Now I've come to see it was never me I was looking for, it was always Him."
Although many of the themes are those which For Today's diverse audience will universally relate to, they are also unashamed to present a fearless gospel message in songs like "Dead to Rights." As "Hated by the World" narrates, this dedication to the message has often been anything but easy. For Today has drawn a lot of fire for their beliefs both from outside and even within their fan base, which has caused the group to decide beyond a shadow of a doubt what they stand for and what is worth dedicating their lives to— which for them will always be the gospel above a music scene.
Closing Thoughts:
Although this album does not come with any major innovations, it incorporates the best of hardcore and nu-metal industrial sensibilities to create a solid offering that more than delivers for fans and new listeners alike. Carrying even more crushing power than the low-tuned riffage, the messages of this project are what truly set it apart as impossible to be ignored. This is a call to attention and action for any listeners— first to receive hope, and then to use it practically to fight very real issues in our world.
In a playing field increasingly influenced by electronic-styled music, fresh face to the game Loftland is reclaiming some ground by continuing to drive home Christian music's stake in the style. The pop-driven quartet, hailing from Wisconsin, is bringing their tunes to a wider audience with 2014's I Don't Want to Dance.
The album immediately demonstrates an impressive control of the electronic format for an act comprised of relatively young members, employing glimmering synthesized beats on songs like "Today is a New Day" and title track "I Don't Want to Dance." These pulsing rhythms sculpting out upbeat offerings about life and love are where the band shows the most mastery.
Moments where the band seeks more diversity shine as well, however. "Lie to Me" has a sharper, moodier tone, exploring a broken relationship with the concisely expressed sentiment "I can't take the truth / so won't you lie to me?" Closing offering "Let's Make it Loud" infuses an intentional crackling tone to the instrumentation, grounding the song as it proclaims unashamed joy.
This project's list of strong points doesn't stop at the surface level. "How You Love Me" showcases some of the most richly textured EDM-flavored instrumentation, but it also dives deep into an earnest look at the way God's love changes our hearts. "Runaway," also richly dynamic in its arrangement, explores the destructive nature of sin. Shimmering, almost trance-style electronic ballad "Hold On, Small On" speaks comfort and deep reassurance into the storms of life with the lyrics "The ship and I are going under, but I can hear a Voice that says / hold on small one, I'm right beside you / when the storms are coming and all your hope is gone."
The lyrical depth of tracks such as those mentioned above may indirectly cause a potential stumbling block for some listeners simply because it stands in seeming contrast to selections such as "Can't Get Enough" and "Lovesick," songs that explore the consuming, overpowering nature of love in language that could easily land them a home on mainstream radio waves. Although the songs are solid in their own right, they do seem a bit jarring placed in juxtaposition with some of the other themes threaded through the album.
Closing Thoughts:
Loftland brings some impressively compelling electronic pop rock songs with an infectious optimism and enthusiasm that easily draw the listener into their slick sonic landscape. Although there are moments of internal thematic discord, the band still shows that they have something to say-- and they're saying it brilliantly framed in a medium much more seasoned artists have struggled to employ effectively. This project definitely marks Loftland as a band to watch.
Brilliant Horizons | Posted January-11-2014
For most bands whose discography spans over a decade and a half, the challenge to stay fresh usually either ends in either a complete direction change leaving fans with whiplash, or with a tedious battle to top their our previous efforts by recreating the same record just a little better each time. These are pitfalls cornerstone rock act Switchfoot has managed to sidestep entirely.
Switchfoot's 8th studio effort Vice Verses showed us that the veteran rockers remained unafraid to explore new territory, constantly growing and diversifying musically while refining rather than losing their core identity as a band. The September 2011 release was pumped full of thick guitar tones, heavy bass beats, and hip-hop meets alt rock chemistry.
That change in stance to lean more on beat and percussion perfectly set the stage musically for yet another leap into the unknown with the band's early 2014 effort Fading West. This is an album born along with the film by the same title, not as a soundtrack, but certainly as an accompaniment. Just as the movie traced the band's journey through the world's coastlines, music venues, beauties and challenges, the album traces a similar journey.
This album both begins and ends with statements about the core identity of the band in songs "Love Alone is Worth the Fight" and "Back to the Beginning." The first song on the album is also its lead single, an infectious reminder of the core motive behind the songs Switchfoot sings. This song soars through its upbeat hooks with a mood significantly more polished and pop than has previously been familiar for the band's work, but it's a sound they pull off believably.
The pop factor is one of the album's surprises, an element that holds steady and resurfaces throughout like a current pulling the songs out into uncharted waters. "All or Nothing At All" is another example of this, a song built up around the steady pulse of a rich beat provided by drummer Chad Butler and the exquisitely layered keyboard tones offered by Jerome Fontamillas. This is a love song that subverts the pre-packaged consumer-driven concepts of love more frequently heard in pop-styled music, declaring that love is not love unless it accepts another soul completely, with all its deepest flaws: "you and I both know our fatal flaws / we both know that love is what you make it / I want you all or nothing at all."
"Let it Out" carries some of that same slick pop sensibility, but the structure of its instrumentation is simpler, allowing the core message of the song to stand front and center. Clapped beats provide basic percussion and a simple piano bed anchors the track as frontman Jonathan Foreman empties his lungs into a cry calling us to refuse to be silenced by a noisy, numbing world.
Fans of classic Switchfoot will be grateful though that this is still undeniably the same band that produced such rock cornerstones as "Meant to Live" and "Stars." "Say it Like You Mean It" proves this. This track has teeth, biting deep with aggressive verses about maintaining integrity in what you say and do, beautifully exemplifying the thundering fuzzy guitar tones that are guitarist Drew Shirley's trademark. The slightly crowded and unusual instrumentation might also remind some listeners of "Oh! Gravity," an album that has previously been largely stylistically isolated in the band's catalog.
One of the most distinctive characteristics of this album that makes itself known repeatedly is its infectiously upbeat posture. High-energy anthem "Who We Are" is a good example of this, a song starting with a funky vibe and a muted count to five-- a number denoting the five members of the band, representing from the first that this is an autobiographical account of Switchfoot's journey. This song is not entirely inward-turned though, as it very intentionally reminds listeners "there's still time enough to choose who we are."
"When We Come Alive" is another song that is uplifting in the truest sense of the word as it reminds listeners of the particular radiance our souls have when we choose to let them shine in the dark. This vividly arranged and worded track exemplifies what it looks like when we choose not to allow true life to be overcome.
This upbeat and energetic pacing is balanced by three more mellow-hearted tracks in the album's center. "The World You Want" is a song of recognizing the broken places in the world while emphasizing that we have a measure of responsibility in healing it. The more subdued tone fits beautifully the indictment standing against our own self-preoccupation, leaving us with the reminder that where we invest our actions proves what we believe: "what you say is your religion / how you say it's your religion / who you love is your religion / how you love is your religion..."
"Slipping Away" is also more in line with Switchfoot's darker, more introspective work lyrically, although the musical tone is more upbeat and dynamic than might be expected from the poetic and almost desperate lyrics: "Fear is just a shadow of the things that matter the most / and I fear that I'm losing hope tonight." The arranging here is also slightly reminiscent of Oh! Gravity, particularly in the flow of the verses.
Another intense track immediately follows with "Ba55," a song that suitably begins with a thumping bass line proferred by Tim Foreman. The song layers haunting tones as it progresses, lyrically exploring the purifying nature frequently found in challenges as it musically soars through dark, distorted guitar interludes and Jon Foreman's moody vocals.
The song that most tangibly ties this album to the ocean shores that inspired it is "Saltwater Heart," a song that draws on some of the mild hip-hop influences first employed on Vice Verses as it explores water as something spiritual, the tie between our water-filled bodies and their longing for the ocean a metaphor for a much deeper longing for our souls to be united with the Image they were drawn from. The track's structure and songwriting style are both intriguing and instantly memorable, and it showcases deep honesty as one of the greatest strengths of Jon Foreman's songwriting.
Chill, symphonic synth tones usher in the album's final curtain, previously mentioned "Back to the Beginning." This song beautifully echoes back to "Love Alone Is Worth the Fight," ending the journey with a reminder again of the necessity of digging deep and holding steadfast to your source of life, no matter how far beyond familiar shores life's current may draw you. Yearning marks this track, but it is also marked by hope stayed upon the One who authors and perfects redemption in chaotic, distracted lives: "but you're what I'm running for / and I want to feel the wind at my back again / back to the beginning again."
Closing Thoughts:
"Where do songs come from?" Switchfoot frontman Jon Foreman muses when reflecting on the process of creating Fading West. "For me, they come from uncomfortable places. Awkward, painful places where I feel tested-- face to face with questions that don't have easy answers."
Much of this album is born of both the joy and sorrow that comes from facing those questions head-on, embracing them with a sense of humility and wonder in recognizing that, despite our flaws, we are gifted with rich life. The album bears the same sense of brave exploration and elated adventure that the movie holds, and it also carries the reminder that intense joy is not born without a fight. Musically, the album boasts melodies smooth as the colors of a sunkissed shore, with texture in the instrumentation as deep as the restless ocean water that poured itself into these songs.
Although the pop-driven nature characterizing much of this album might require some getting used to for longtime Switchfoot fans, it seems like a suitable sound for this chapter of the band's story-- a chapter more full of vivacious energy, wide-eyed joy, and earnest hope than ever before. If there is any doubt about where this vibrance stems from, Jon Foreman clarifies it best: "...my fears and doubts began the day I was born. And yet, my hope is anchored on the other side of life and death with the colors that live outside the lines."
Song to Download Now:
"Love Alone is Worth the Fight" (Get it on iTunes here.)
When Nine Lashes' Tooth & Nail debut, World We View, drew the attention and applause of critics and fans alike in early 2012, it was with good reason. The Alabama-based rockers had already spent nearly six years honing their sound as an indie band, crafting a brooding hard rock sound reminiscent of secular acts Breaking Benjamin and Three Days Grace.
When a chance connection led to Thousand Foot Krutch's Trevor McNevan recommending the band to Tooth & Nail's Brandon Ebel, Nine Lashes didn't waste a moment of the opportunity they'd been given. In addition to their strong debut album, the band toured tirelessly with major acts in their field such as Skillet, Red, and Thousand Foot Krutch.
Early 2014 release From Water to War continues the trend of refusing to waste any time. Appearing just under two years after their debut project, the sophomore effort chooses to take the risk of sounding rushed—a step that absolutely pays off for the band, as the level of musical maturing evident on this album makes it seem like the band has had much more time between releases.
One of the stylistic developments that is most immediately clear is the introduction of some strong electronic elements, adding an icy veneer to the edgy rock grit. Although they are far from the first to employ this particular dynamic in their music, the result when combined with Jeremy Dunn's moody vocals is a sound instantly, hauntingly memorable.
Lead single "Break the World" already has been giving listeners a taste of this, with grungy guitar and pulsing electronic elements carefully wrapped around a heavy beat provided by Noah Terrell's drumming. Songs like "Lights We Burn," which calls listeners out for the ones we forget to love, and dream-like album closer "Cover Your Own" carry a similar marriage of smooth synth patches and dark guitar tones. "Where I Belong" draws on a pop melody and an electronic beat so integral to the song's structure that it could almost be classified in the EDM genre.
Despite advances in the area of integrating electronic elements, rock and roll fans have nothing to fear: there is classic hard rock fare here as well. "Light it Up" is distorted and aggressive as it makes a statement about refusing to be walked on and oppressed. "Die in the Dark" features a scratched, eerie reading of Psalm 42:10 in the bridge in a moment reminiscent of Nine Lashes's independent releases.
Another advance that the band has made is in the field of songwriting, which is equally emotionally charged but more complex and layered than on the debut release. Lyrically, this album spins a consistent thread of finding your identity and where you stand through the hardening fire of internal turmoil. "Fear and Shadows" is one of the most introspective moments on the album, the second verse declaring in haunted tones "I feel the panic dividing me / the worry grows, nowhere to go / I hold my breath down inside of me / wish I could find this heart of mine." The introspection is not all negative however. "Never Back Down" makes the earnest declaration of identity "I'd rather die than believe a lie."
The album's pacing is strong throughout, interspersing slower moments to balance the driving rock beats. "Surrender" is a conversation between a lonely lost heart and its Creator, coming to a place of willingness to give everything to God—even if all that's left to give is brokenness. "Love Me Now" has a similar feel, and is also one of the strongest tracks on the album in the way it combines chilling piano, grinding guitar, and electronically distorted vocals to express a deep need for love despite the fear that maybe it's beyond reach. The bridge plainly offers the hope that the band has found with the words, "remember Jesus Christ / He felt your pain."
Closing Thoughts:
This album demonstrates a strong level of progression in the group's style without departing too far from the sound established in the past. The ability to produce material this strong in such a short time marks Nine Lashes with an unusually strong work ethic and the ability to successfully navigate a genre that is often either stagnant or inauthentic. The interplay between searing guitar work and chilling electronic influences make this an album to remember, setting the bar high for other rock releases as we head into a new year.
Future of Forestry is the exquisite indie brainchild of Eric Owyoung, a California-based musician who is known for the freedom and surprising success with which he experiments and creates. Between his four shining studio efforts and a plethora of EP gems, his work has become an underground treasure for indie-style music fans.
This year's Advent Christmas Vol. III is, as its title would suggest, the continuation of a series. Advent Christmas Vol. I was released in 2008, with Vol. II following in 2010. This third offering is meant to add to the first two, much as Future of Forestry's Travel EPs bear a certain stylistic and thematic continuity.
Listening in on the way Owyoung approaches Christmas music is intriguing, given that he is working with very structured pre-arranged material, rather than synthesizing his own. There are moments of tentative vocals and soft instrumentation that mark the tracks with a sense that Owyoung is exploring these classic Christmas carols and their history with us. Brandon Zedaker is his fellow explorer, aiding in the often creative and layered instrumentation.
One such example is on "Carol of the Bells." They opt for muted and restrained rather than the bombastic approach common for this track, employing a wide variety of bell and chime sounds, layered with guitar softened by an almost '70s-style fuzz. This approach serves the haunting melody well.
Indeed, overall this may be the most gentle of the Advent EP series. "Silent Night" is delivered with a sense of intimate awe, vocals scratching over ethereal climbing piano chords. In addition to solid instrumentation, Future of Foresty excels at the art of knowing exactly when silence serves the song best. "O Come All Ye Faithful" holds a similar tone of childlike wonder tempered by a more mature reverence, carried by a beautiful interplay between piano and percussive elements.
One of the decisions that sets the tracklist apart from most other Christmas releases is the inclusion of "Jesu Joy of Man's Desiring," sung in its original German. Foreign language pieces are always a gamble, as they run the risk of alienating English speakers who cannot understand the lyrics, but this rendition is tasteful and never overbearing in its presentation of the Bach piece. The places where the German might seem slightly stilted to native speakers are smoothed over by exceptional instrumentation choices (particularly a notably rich string section) that give this song the most joyful posture of the EP's selections.
"Still Still Still" is another unusual inclusion, but it is both thematically appropriate and perfectly placed as the collection's closer. Vocally, Owyoung chooses a technique bordering on falsetto to add to the almost angelic sound of the piece. With its deeply calming sound and sense of peaceful resolution, this track lends a sense of closure to this chapter of the Advent collections.
Closing Thoughts:
A sense of continuity with the previous EPs is certainly achieved in Vol. III, though with an added level of musical maturity and enough individuality to make this well worth adding to your collection. This EP strikes a balance between calming and engaging with its restrained arrangements carried out with diverse, often surprising instrumentation. Owyoung also shows wisdom in choosing to take on traditional carols in manageable portions, pacing himself rather than trying to accomplish everything in one release. This EP is a holiday must-have for anyone looking for refreshingly unique yet deeply reverent takes on seasonal music.
Redeemer is the second release this year from Rocklin, Calif. based worship group Kingdom. These are songs that have grown out of their ministry, worship tunes tested on and affirmed by the family that is their local church. The fact that this release only holds one track in common with their self-titled release earlier this year shows that the group is both dedicated and prolific.
As on the last album, a variety of styles and approaches are present on this release. "Until the Whole World Hears" and "What I've Found" take a fairly conventional contemporary worship approach, utilizing the big chorus sound and sweeping instrumentation characteristic of acts like Chris Tomlin and Jesus Culture. These songs make use of each member of the 6-person ensemble, filling out the musical atmosphere with the steady throb of guitars, drum fills, and the interplay between Jordan and Veronica's vocals.
Other songs take the slightly more stripped back, indie sound recently embraced by groups like Hillsong United and Rend Collective Experiment. "All for Love" is both a good example of this and a highlight of the album. Pairing soft piano with clean, clear vocals, the song is a very personal reflection on God's love: "The hands that made the stars / now they bear the scars / and hold my ransomed heart."
"Made Alive" is another song employing a strong piano presence. This song also brings in some of the electronic elements that were strong in places on the group's self-titled release, adding a more unique texture to the track. "Chorus of the Saints" is particularly reminiscent of Rend Collective Experiment with its joyful, unpolished group vocal sound over simple acoustic guitar.
Lyrically, this album focuses on foundational elements of the character of God. Title and opening track "Redeemer" sets the stage well, brightly declaring truths about the way God relates to His people. "Unbreakable" focuses on His unbreaking, unchanging nature in the face of the shifting world surrounding us.
Although previously released, "God of Fire" is still a welcome inclusion on this collection with its soaring choruses and raw-edged guitar. This track is deeply passionate and instantly memorable.
Closing Thoughts:
This album shows yet again that the group has solid musicianship and a deep grounding in scripture that enables them to express well the identities of both Christ and His followers. It is thematically consistent with their self-titled release, showing that their ministry and their hearts continue to stay focused on making Jesus known.
The unfortunate downside to the small space between the two releases is that it does not leave much time for musical maturing to occur on this new release, which marks it with the same sense of still trying to find its own unique foothold. The songs might have been better served by releasing an EP featuring a few of the stand-out tracks, with other selections saved and refined for release later.
That aside, this is a grounded album that will invite listeners to join their hearts with Kingdom in declaring the identity of our redeeming God. Experiments with a variety of sounds show that this band is capable of pulling off an impressive array of stylistic approaches, making them definitely a group to watch.
For Pennsylvania-based rock outfit Breaking the Silence, 2009 provided two major breaks: a spot opening on Skillet's intensely successful tour in support of their then-new release Awake, and a coveted record deal with Christian hard rock cornerstone label Tooth & Nail. These events propelled newly-branded The Letter Black into widespread recognition, giving them an opportunity to bring their messages of hope to countless festival and major tour stages.
Debut album Hanging On By a Thread hit shelves in May 2010, introducing even more rock followers to the powerhouse combination of Mark and Sarah Anthony's dual vocals, songwriting, and ministry focus. This fall sees the long-awaited follow-up effort, Rebuild, finally finding its way into the hands of the many fans the band's hard work has won.
Opening track "Sick Charade" gives the listener a solid dose of what's to come: gravelly guitar tone and backing vocals from Mark Anthony, Sarah Anthony's haunting lead vocals, and lyrics steadfastly demanding the truth in a sea of endless culturally constructed masks. "Break Out" introduces a more industrial sound reminiscent of older genre giants Pillar and early Thousand Foot Krutch. The guitar tone chugs through murky riffs behind a call to action.
Haunting piece "Pain Killer" follows. Drummer Justin Brown's steady beat carries much of the first verse, lending a sense of urgency to what is otherwise a more melodic song. With hints of keyboard, violin and ethereal backing vocals, this song carries some stylistic similarities to secular female-fronted rock counterpart Evanescence, though The Letter Black's lyrics focus on letting go of pain and trading it for a supernatural love.
"Found" takes an acoustic ballad-style approach, showcasing the more vulnerable undertones of Sarah Anthony's powerhouse voice. This song reassures those who are struggling or in deep pain "when you've lost all hope just know / when you're lost you can always be found." "Up From the Ashes" is a song of overcoming and identity, built on the concept "sometimes you've gotta burn the past to rise up from the ashes." This song features a strong, grunge-style guitar solo from Mark Anthony on its blistering bridge.
Introducing again the darker sound The Letter Black has often explored, "Outside Looking In" recognizes a state of separation from God and declares the deep need to seek solace in His hope again. This moody offering leads into title track "Rebuild," another cut emphasizing the more industrial elements of the group's sound. This is a song that consciously chooses healing over harm, using Mark and Sarah Anthony's vocal chemistry as a springboard for a memorable melody.
Grinding guitars and the exquisite phrasing of the searching lyrics characterize "Smothering Walls." This song declares a desperate need for rescue from heartache and self-destruction. "Shattered" is a track with an intensely autobiographical leaning in the lyrics, speaking freedom from those who have abused you. This song holds the distinction of being the only one where Mark Anthony's vocals carry lead for a full verse.
"Devil on Your Back" is a militantly aggressive rock tune fighting the lies and deceits of the enemy. The screaming that has taken a backseat throughout the album steps into the fore here. The album wraps with "Branded," a song that refuses to take on the shameful labels offered by those who would try to tear you down. This track also features a gutsy scream on the bridge that is perfectly placed and executed. A song of empowerment found in the identity of Christ is a solid way to wrap an album that often speaks from a place of helplessness and fear.
Closing Thoughts:
On their sophomore release, The Letter Black shows marked progress towards musical maturity from their debut album while also harkening back to some of the best elements of their independent work. They maintain some of the harder elements of their sound without ever sounding overly abrasive, tempering harsh industrial guitar tones with Sarah Anthony's shimmering, chilling vocal sound to create a piece that could easily hold its own in both Christian and mainstream rock formats. Thematically, the album honestly speaks to struggles while also emphasizing the hope and potential for healing available in Christ. The Letter Black is a group that burns across the darkened sky of rock and roll with all the momentum of a hope-filled comet, shedding sparks of passion and life in its wake.
Few figures in rock and roll history could claim such a polarizing reputation as Creed frontman Scott Stapp. His career began in the mid-90s with the explosive success of Creed's debut My Own Prison, the first of three albums by the band that would shape and define much of the post-grunge movement. Stapp's signature dramatic, bluesy vocals were loved by some and criticized by others, but undeniably consistently influential in his genre. Creed's career was cut short in 2004, coinciding with Scott Stapp's own personal downward spiral. The band, and Stapp's life, was left in shambles.
But that wreckage served to birth a deep renewal in Stapp's faith and personal life, which eventually led to his successful solo debut The Great Divide in 2005 and Creed's reunion for album Full Circle in 2009. The former reckless rocker has become a devoted husband, father, and Christ-follower, intent on turning even his mistakes towards redemption.
This intensely personal story serves as a backdrop for November 2013 release Proof of Life, an 11-track album which treads the most spiritually rich ground of Stapp's prolific songwriting career. "I really feel like (the album) proves that the last 10 years mattered and that all of the struggle mattered and I didn't waste all that time," Stapp said in a recent interview with ArtistDirect. "It's a story and a journey and an education and proof that there was life in that period."
The project kicks off with lead single "Slow Suicide," immediately lyrically addressing those who might be skeptical of the new direction: "I'm not evil, no matter what you think of me / I'm just human, there's a part of you that's just like me." Musically, this track showcases Scott Stapp's deep-running grunge roots with its heavily distorted guitars and rough vocals.
"Who I Am" is a song wrestling with identity that is just reminiscent enough of classic Creed to satisfy longtime fans without using the musical heritage as a crutch. Most notably, the production is much cleaner, which can be attributed to the masterful mixing of Chris Lord-Alge and direction of iconic rock producer Howard Benson. Title track "Proof of Life" is an instant album highlight, featuring some of the strongest songwriting and deepest earnesty. The song's autobiographical undertones serve to buoy it up through themes of taking responsibility for your mistakes and finding purpose in even a broken life.
Propelled by a surprisingly smooth melody, "New Day Coming" is a poignant declaration of a redemptive new beginning. The song's chorus captures the concept of new beginnings that underscores much of the album's thematic flow: "I'll get back up, cause my whole life I was lost and now I'm found." "Only One" is another more laid back cut, also serving as one of the most accessible selections with its upbeat sound and smooth pacing.
"Break Out" employs the rock genre's staple fight song format, but turns it more towards inspiration than aggression. This is a song that could easily be picked up by a sports team. "Hit Me More" builds itself with just a bit of a Southern twang well-suited to Stapp's vocal style. The track is a narrative embracing the breaking point moments of our lives, framed by hook-heavy melodies and instantly singable lyrics.
In what is perhaps the hardest moment on the album to pull off, "Jesus Was a Rockstar" likens Jesus's life to the career of a rockstar. This track will most likely prove hard for some to swallow, but taken with the right amount of levity, the song is an enjoyable jam with surprisingly strong validity in the comparisons drawn.
"What Would Love Do" is a song from the heart of conflicts, asking the simple question "what would love do?" both of the singer and the other person involved in the situation. This displays a mellowed, trembling side to Stapp's powerhouse voice, adding an appropriate balance to other tracks on the album. "Crash" reminisces on the dangers of climbing too high through success. Featuring both a rich acoustic guitar bed in the intro and the strongest guitar solo on the album, this song will also likely be musically satisfying fare for Creed fans.
Grunge-style ballad "Dying to Live" wraps the album with some of the strongest musical arranging and songwriting, declaring earnestly and fittingly "What I thought was all of my life's story, turns out it was only just one page / It's a new beginning, I've got so much left to say."
Closing Thoughts: This is a rare album that manages to stay true to the artist's musical resume while innovating for new listeners, tempering classic distortion-heavy grunge with slick hooks and matured songwriting. Scott Stapp clearly knows his craft inside and out, and he's investing that knowledge in some deeply encouraging songs of personal redemption and purpose. Crafted by one of the best teams in the rock music industry, this album is undeniably musically tight and masterfully written.
Although Stapp's tumultuous history may provide a challenge for many listeners in granting this album credibility, particularly in the Christian market, the humility and honesty voiced in every track make this well worth your time and consideration. These songs give voice to those who have been broken, the grace-hungry seeking to know that even their mistakes can find meaning—and that is a voice that sorely needs to be heard.
Song to Download Now: "Slow Suicide" (Get it on iTunes here.)
When iconic alternative rockers Thrice announced their hiatus in 2012, fans were left feeling bereft of the contemplative songwriting voice of frontman Dustin Kensrue. Fortunately, he didn't bow out of music making entirely. Kensrue's involvement now comes through west coast mega-church Mars Hill, and his new solo worship venture is ushered in under the Mars Hill Music umbrella.
Although the lyrics of The Water and The Blood retain the poetic and thoughtful songwriting style established in Thrice's work, the content is much more concrete. Where Thrice allowed spirituality to serve as a constantly tugging undercurrent, Kensrue's latest is an outpouring of theologically rich declarations.
Opening track "Rejoice" immediately sets the tone of the album as being marked by joy. These are songs that could easily be taken and used in a congregational setting. "Rock of Ages" takes the words of the classic hymn and builds a new tune and a new chorus around them. Although re-writing hymns is always a little hit or miss, in this case Kensrue pulls it off.
"Suffering Servant" uses rich scriptural phrasing to paint a picture of Christ's loving suffering in the face of the earth's rejection. Despite the more mournful theme, musically this song continues in the already set path of a raw, indie sound. The slight layer of vocal grit that worked so well in Thrice's post-hardcore pieces also lends itself beautifully to the rough sound of this project. Suitably, the music is produced to leave a level of fuzz around the instruments' tone that gives the listener the sense of being in the room with the artist, joining in praise.
"My One Comfort" declares the surety of Christ's atonement as cause for celebration, beginning with the simple yet powerful statement "my one comfort both in life and death is that I am not my own / I was bought with blood / and I confess I belong to You alone." "God is Good" explores the theme of recognizing God's goodness even when we perceive Him as silent or passive.
Continuing with the rich theological content, "Grace Alone" explores our deep dependence on grace to even be able to enter a relationship with God. Musically, "The Voice of the Lord" draws on a subtle jangle in the guitar tone and a more aggressive drive that makes this song the most reminiscent of Thrice's work. This song focuses on the overwhelming power of God's voice and the way we respond to it as His creation.
"It's Not Enough" is the first track to strip back the instrumentation and structure to achieve a more vulnerable moment in the music, lending itself perfectly to a vibrantly poetic picture of our deep need for Christ. The lyrics walk through ways our souls try to satisfy themselves ("I could walk the world forever / 'til my shoes were filled with blood"), concluding in the bridge, "it's not enough to make me whole / it's not enough and never was."
"Come Lord Jesus" returns to the more upbeat sound of the rest of the collection. Although lyrically the cry for Christ's return focuses more on imagery of His coming return, in another light it could also be an acceptable advent song. "Oh God" is held together by subtle piano chords, an instrument that is most clearly present on the last few tracks of the album. "It Is Finished" grants a final call to draw deep joy and peace from the reality that Jesus already accomplished what we never could. The album ends with the encouragement "go bravely into battle knowing He has won the war."
Closing Thoughts:
Although some of the lyrical framing and vocal stylings are the same, this is definitely unique and distinct in all other ways from the experimental angst of Thrice's work. The slight raw edge of the music lends a sense of genuineness to the project, while the lyrics flow from a rock solid scripture foundation. The doctrine-heavy statements definitely bear a recognizably Reformed leaning, as is to be expected from a Mars Hill artist, but they are sung with a humility and openness that invites believers from all denominations into unified worship. Although musically this album does not set itself too far apart from other recent indie-leaning worship projects, the thoughtful lyrics and joyful spirit make this an album well worth an attentive listen.
Two years ago, Tooth & Nail discovery Icon For Hire exploded into the rock-and-roll audiences' awareness with their debut album, Scripted. Their pop-flavored hard rock laced with attitude and earnestness quickly propelled them to the rank of highest-selling first week of any debut in Tooth & Nail history.
The group, fronted by dynamic frontwoman Ariel and backed by guitarist Shawn Jump and drummer Adam Kronshagen, has not wasted a second of the momentum gained by Scripted, using it to fuel their tireless touring treks to connect with fans nationwide. Their unique sound, infectious passion and genuine dedication to their growing fanbase (known as the Icon Army) has made their self-titled sophomore release one of the most heavily-hyped rock releases of fall 2013.
The album begins with lead single "Cynics & Critics." From the first echo of electronically-altered vocals, this song sets the tone with a sharp lyrical bite. The track emphasizes the dull-eyed, disinterested misery of a generation marked by the lyric, "we like our thrills dirt cheap and our irony thick." Shawn Jump's guitars rumble below the rushing vocals with characteristic intensity. "Nerves" follows, kicking in with a cleverly borderline obnoxious hook in the vein of a derisive playground chant: "I have a heart that gets on everybody's nerves / they don't want the truth / they just want the words." This song displays the way that this album is less slick in its melody structures and production than Scripted was, suitably emphasizing grungier elements of the band's style to match the more abrasive tone of the lyrics.
"Sugar and Spice" begins with a syrupy-sweet electronic introduction. Ariel quickly gets a chance to showcase her phenomenal rapping abilities, balanced perfectly by some haunting melodic singing in the pre-chorus. Here the phrase "sugar and spice" is used as a metaphor for the praise of others (especially the media) as the song recognizes the seductive draw of trying to say and do the right things to earn approval.
A change of lyrical direction marks "Hope of Morning," a vulnerable song of desperation and refusal to bow to your own soul-sickness. This song provides a healthy balance with the tracks calling others out, showing that any finger-pointing includes the writers themselves. Drummer Adam Kronshagen's steady beats serve to ground the more fluid flow of this track.
"Sorry About Your Parents" provides the most sarcastic moment on the album, serving as a scathing statement against wallowing in self-pity and feeding a victim mentality instead of choosing to stand up and move on. The pacing is tight, and the blend of electronic and edgy rock sensibilities is dead-on. Despite its sarcastic veneer, the song also carries a serious warning and call to action: "You'll never succeed if you're so convinced you're defeated / if you're obsessed with your yesterday then you're destined to repeat it."
Synth-infused "Pop Culture" follows, employing a mesmerizing monotone to mimic the marketing-driven hypnosis described by the song. The track's beat is almost reminiscent of the addictive pop culture it admits that we're all far too hooked on—whether or not we admit it. "Watch Me" bears the heaviest rap influence, lead singer Ariel spitting harsh verses to propel the song into a blistering chorus. Every line dripping with attitude, the song expresses frustration with the play-it-safe paralytics who spend their time criticizing others' attempts at changing the world instead of moving out of the safe zone to try to make a difference themselves. The accusations climax in the second verse, where the band chooses to imply rather than enunciate some strong language to punctuate their point.
"Slow Down" contrasts sharply with its precursors. The ballad-style piece emphasizes the deep sense of gratitude and calm that comes in recognizing what really matters and letting go of the rest. Choral-style sampling in the background vocals adds to the hazy, dreamlike feel of this selection. Moody rock masterpiece "Rock and Roll Thugs" is one of the album's stand-out tracks. This song tells the story of anyone who grew up surrounded by the well-intentioned but often blind notion that rock and roll is the "devil's music," nothing more than a vehicle for bad behavior. The song's passionate chorus gives voice to the cry of many who have found hope and a piece of who they are in music: "Bury all the records in the backyard / when you're not looking I'll go dig them back up. / You can bury my body in the backyard / when you're not looking I'll go dig myself up."
Carried by a thumping bass line and more crushing honesty, "Think I'm Sick" is a rapcore-reminiscent track that easily puts Icon For Hire in the tradition of Linkin Park, a notion strengthened by the dark reflections on inner turmoil and the concept that we are often our own worst enemy. "Fix Me" serves as a sequel with piano-driven instrumentation stripped back to the most vulnerable necessities. The lyrics, voiced by beautifully clear vocals with just enough trembling to mark them heartfelt and raw, recognize that the only way the endless cycle of self-examination and self-medication (both themes consistent throughout all the previous tracks) can be broken is through reaching to something or Someone outside of yourself. This is a song of helpless surrender, beautifully captured in the bridge's quiet promise of hope: "every scar one day will heal / every tear one day will dry."
"Counting on Hearts" wraps the album up with a call to the band's fans, establishing a deep reliance on them as fuel for the band's mission. This song is stylistically similar to the opening track, lending musical resolution. This is Icon For Hire's request to fans to keep challenging them, to keep inspiring them, to keep giving them a reason to stay on the road: "some things are worth fighting for / all we need are hearts like yours."
Closing Thoughts:
This album fits in the rare class of projects that can only be born from brutal honesty—both with your audience and with yourself as an artist. Icon For Hire did not spare themselves in writing this album, never settling for anything less than excellence and truth with all its grit and complex, bleeding-heart beauty. The blood, sweat and tears more than pay off for the sophomore rockers.
Musically, this is an edgy masterpiece in the tradition of Nine Inch Nails or Linkin Park, but with the unusual asset of rock-solid female vocals. Lyrically, they take some of the trademark accusatory angst of their genre and turn it first towards admitting their own hearts as contributors to the disease and then sparking hope as an answer more enduring than soul-sick self-destruction.
Ultimately, the album's strength largely lies in the delicate balance between honesty about the reality of current internal brokenness and hope that declares no one has to stay in that shadow forever. Icon For Hire is a milestone moment, both for the band and for their genre as a whole. Although some of the lyrics might be uncomfortably abrasive for some listeners, there is the sense that that is exactly as the band intended it. The album is worth picking up if you like rock, or even if you don't— this band just might change your mind.
MaryNikkel_NRT's Music and Book Reviews 
