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...
A Hardcore Heart Beating Strong | Posted October-15-2013
These Hearts is a hardcore act in the same vein as mainstream icons Sleeping With Sirens, A Day to Remember, and Of Mice And Men. The Victory Records signees have honed their musical chops through EPs and their debut release and, more importantly, endless hours out on the road. Their hard work is evident throughout their summer 2013 release Yours to Take.
This effort shows a remarkable maturing of their hardcore and pop fusion, a duality particularly evident on tracks "Miserable" and remake "The Inconvenience" (previously heard on The Elephant in the Room EP). Another strong point for this release is the intense honesty about what life can be like as a new act taking to the road and fighting through the years of long drives in old vans thousands of miles from loved ones.
Though the rougher moments of this lifestyle are chronicled on "Been Through Hell" and the wistful album closer "Never Mind Me," the band also clearly admits in album opener "This is Love" that this is a challenge they take on gladly in order to bring hope to their fans.
Although a few of the songs stray far into melodic pop waters (such as the bitter indictment "Psycho"), there is enough heavy fare to satisfy the hardcore crowd as well, notably with the inclusion of For Today's Mattie Montgomery on "War."
Closing Thoughts:
With clean production, solid musical arranging, and strikingly mature vocals, this album is the strongest we have heard from These Hearts. They have grown into much of the potential of previous release Forever Ended Yesterday. This is a band that can easily hold their own with the post-hardcore heavyweights, touting messages that sail much of the same waters (troubled and manipulative relationships, loneliness, and grief) while choosing to offer hope and calls to action. If you like the grit of some deep growls and low-tuned guitars smoothed over by slick pop melodies, this is a must-have.
Righteous Vendetta's career path embodies some of the rebel heart of hard rock. After a few releases on well-established hardcore label Red Cord Records, they decided to take to the independent road, armed with songs they love and a rare boldness to sing honestly about things that matter deeply to them. This path has garnered them consistent high chart positions for "This Pain," a song that has brought them the attention of Christian hard rock fans nationwide. The success of that single serves as the launching pad for their latest full length effort, The Fire Inside.
Opening track "Defiance" largely sets the tone for the album as a whole, featuring an attitude of aggression summed up by the bold declaration, "I will spit in the face of defeat." Single "This Pain" follows. Its success is instantly validated by its hook-heavy organization and deeply poetic and raw lyrics crying for pain to be taken away.
"What You've Done" is one of the strongest offerings on the album, featuring an infectiously singable chorus and brilliantly employing some dual guitar riffs. "With Love" takes a softer approach which highlights the sorrowful vocals voicing the plea: "how can we live with the silence? / Can you feel it on your hands? / We have the power to change the world with our love."
Suitably, the title track "The Fire Inside" serves as a kind of thesis statement for the band and this particular album, channeling the signature aggression of hard rock into a drive to fight for light—a drive fueled by the Holy Spirit burning internally. "So Long" capitalizes on the harsher elements of Righteous Vendetta's style, growling through its defiance of anything that threatens to hinder the spiritual stand the song takes.
"Inside My Eyes" introduces an almost worshipful mood, backed by the crunch of Justin Olmstead and Carl Heiman's guitars. This song is also a standout instance of the band's ability to combine elements of a harder style with surprisingly pop-driven chorus structures, a style that creates the potential for their tunes to be accessible to more than just the hard rock audience. "Fight Back" stylistically references more classic epic metal elements.
"Far Away" and "Back to Life" could be two parts of a story, with "Far Away" expressing a sense of isolation and "Back to Life" expressing what happens when our lives collide with God. "Back to Life" in particular has a soaring quality in its musical progression and frontman Ryan Hayes's vocals that subtly lifts the listener's heart along with the theme of the song.
Featuring guitars tuned low and constructively channeled aggression, "Losing Control" takes the common rock theme of losing control of yourself but turns it towards exploring what happens when the loss of control is due to giving yourself over to God's will instead of giving yourself over to worldly desires and pursuits. "For the Skeptic" is one of the tracks that seems most in line with current Christian hardcore movements with its heavy scripture focus in the lyrics, clean cut guitars, and clear chorus.
"John the Revelator" is even more focused on scriptural imagery, particularly in terms of apocalyptic themes, as is implied by the title. "Reason" makes space for a strong breakdown, giving bass player Zach Goggins a chance to shine. This song speaks against the arrogance inherent in putting your own reason in the place of absolute truth. "You talk so proud, now watch as I tear your kingdom down," the song warns.
Closing Thoughts:
Overall, this album doesn't break much ground, but it does show another important step in the band's progress towards establishing their own musical voice. Their willingness to blend their hardcore roots with some surprisingly melodic, pop-style choruses shows an ability to evolve that will serve the band well as they tread the challenging independent act path.
Although some of the songs seem a little lacking in the area of musical coherence, there are stand-out moments throughout the album that show the band has got what it takes to keep crafting powerful hard rock pieces. Each of the songs is infused with spiritual urgency, calling hearts to awareness and shattering apathy. This is a good album to empower Christians to move through the heartaches threatening to entangle them and deeper into the powerful light of the kingdom of God.
Declarations of New Life | Posted August-28-2013 New Life Church is an artistically prolific megachurch sitting at the foot of the towering Rocky Mountains in Colorado Springs, serving as origin and home to Desperation Band, the Desperation Conference, and a nationally touring Passion play. Their most recent endeavor is the live album Strong God from the New Life Worship team, making the church’s Sunday morning experience available weeklong and worldwide.
The album begins with a few selections with a massive, sweeping musical sound and a heart of declaration. "Jesus Reigns" immediately sets the tone of a corporate worship environment, from the strong presence of many voices in unison supporting the swell of the lead vocals to the emphasis on "we" language in its lyrics.
This lofty, joyful sound builds through "All to Him" into "Victorious God," which is perhaps the most upbeat cut from this collection. "Strong God" takes the energy levels down a notch, focusing on God’s strength as He stands as our Father and Defender. "More Than Enough" is another track that takes a more restrained approach, closer to the indie stylings of All Sons & Daughters than the arena-ready style of Hillsong Live. These quieter moments serve as space for reflection and stillness, fostering an awareness of our great need for a great God.
After the reprise for "More Than Enough," "Ascribe" takes a bit of a different direction again with a strong emphasis on acoustic guitar and violin, building an atmosphere reminiscent of a tender love song as lyrics call listeners to "ascribe unto the Lord the glory due His name / ascribe unto the Lord the honor and the praise." "Unassailable" takes the form of declaration again, focusing on the character and glory of God.
The chill "Who Compares" sets the mood nicely for "Love Divine," which is easily the strongest song from the album. The instrumentation takes a backseat here, simply building a gentle atmosphere for the earnest lyrics "From the dawn of time before the world began, You were the Savior / sent to live a life inside our brokenness."
"Alive and Free" ends the collection on a note of unrestrained joy with lyrics of celebration and music that could easily inspire dancing. It echoes and completes the tone of the first few songs and ties the album together nicely.
Closing Thoughts:
This worship project features the gifts of many different leaders throughout (including Desperate Band leader Jon Egan and worship songwriter Cory Asbury), which serves to avoid the trap of focusing too much on any one leader or voice. Although there is not much fresh material brought to the musical table here, the album is best understood for what it is: an effort to capture congregational worship in album form. The songs are primarily confident corporate declarations of the character of God. These statements are made more even meaningful given that they come from a city that has suffered two years of devastating loss from fires and floods. This is worth the listen for anyone looking to be drawn into songs universally affirming the unshakeable nature of God.
The members of The Ongoing Concept may be new faces to the music scene, but with their debut album Saloon this stage-savvy freshman act displays a level of creativity and carefully channeled energy that eludes most veteran acts. Although the four piece most comfortably fits into the metalcore classification, they are unafraid to color outside genre lines with abandon. The band is the project of brothers Dawson, Kyle and Park Scholz plus their childhood friend TJ Nichols, an arrangement which provides the group a unique coherence in their performing.
"Let's Deal The Cards Again" provides the set-up of a saloon environment, narrating through sound effects and dialog an outlaw entering the room following a patron's complaint that the piano player always plays the same tunes. Title track "Saloon" immediately tears through the narrative with its frantic scratched vocals which quickly start to play off the tones of an old player piano in a brilliantly off-kilter duet. At moments the vocals stray towards conventions of old school punk, though they never hold a position long enough to be pinned to any consistent style.
"You Are the One" slouches in with almost careless gang vocals layered over clapping and stomping before Dawson Scholz's clean-cut guitar bed slices in. The melody alternates between the halting pace heard at the beginning and frantic metalcore screams. "Cover Girl" comes next, almost immediately establishing itself as an album highlight with its irony-laced spoken intro and intriguing interplay between a banjo part that could be straight from an old Western paired with brutal low growls. This song could also serve as a kind of battle cry for the band, espousing originality with the memorable line "stop being the print of someone else's painting."
In a sudden direction shift, "Little Situation" begins with acoustic guitar and obscured clean vocals, setting the stage for the song's narrative with the lines "I saw you in a little situation, I had to rescue you / I saw you in a little situation, you were stuck in your ways." Although the heavy guitars kick in quickly behind lyrics expressing the complexities and pitfalls of playing the part of rescuer, the vocal intensity is toned down throughout, making this track more widely accessible.
"Sunday Revival" is one of the most meaty tracks lyrically, voicing the frustration that comes from observing friends undergo a temporary revival every Sunday morning that only lasts until they walk out of church. The song successfully expresses the problem without straying too far into blaming or bitterness, supported by a memorable guitar hook and strong vocals from both Dawson and Kyle Scholz.
A midway break is provided in "Sidelines," a wistful piano ballad about the experience of being perpetually "friendzoned" by a girl. The thematic heart of the song feels very young, but its sincerity helps it hold its own from the quiet start to the bombastic 80s monster ballad-inspired bridge. "Failures & Fakes" takes the piano theme (an instrument that ties much of the album together as established in the introduction) and takes it in a more jangling direction, supporting the southern swagger of a blistering rock track calling out hypocrites and show-offs with the scorching lyrics "well I've seen your future-- it's not all that impressive." Though the song could easily have strayed into consequence-free criticism, the band is quick to admit in the lyrics "They all pledge their innocence / I would know because I'm one of them."
"Like Autumn" features some Dream Theater-esque chilling keyboard work from Kyle Scholtz in what may be the most traditional hardcore cut from the album, employing the genre's high speed drumming from Parker Scholz. The songs title is explained by the lyric "like autumn you've changed / but not for the better." Musically, this song ties strongly to their heritage of bands like Underoath and August Burns Red. "Class of Twenty Ten" references the graduation year of one of the members, screaming a kind of in-your-face valedictorian speech.
Tying in the piano theme again, "Goodbye, So Long My Love" leans on the Western foundation of the album again as it narrates a conversation between lovers as one of them dies. It's a surprising way to close the album thematically, and though it seems like there should be clearer ties to the opening track to achieve resolution for the listener, the track is strong as a stand-alone. The band balances some brief acapella moments with blazing screams and discordant piano, creating an emotionally intense atmosphere building into some incredibly haunting female vocals which turn the tune into a kind of dirge as it fades out.
Closing Thoughts:
Although this is a young band with young members, this album displays a work ethic and musical maturity that balances perfectly between creative excellence and knowing when to have a good time with some brash punk rock vocals and crushing metal guitar riffs. The theme is a call to be genuine through word and action in a world owned by stereotypes and lies, sonically supported by the band's bold blurring of genre lines and successful fusing of seemingly disparate musical conventions. Saloon is glass of cold water in a ghost town genre, offering a refreshing dose of unashamed originality amidst a multitude of carbon-copy peers. This is an incredibly strong first release which is sure to leave you hoping that this isn't the last we hear from them.
Derek Webb is a self-described agitator. From his initial involvement in the '90s CCM cornerstone group Caedmon's Call to his near-exile from the contemporary Christian scene with 2009's controversial Stockholm Syndrome, Webb has certainly traveled to both ends of the often treacherous and ever-broadening playing field of Christian music.
His initial solo release landed squarely in the middle of his two decade career in 2003, a project titled She Must And Shall Go Free, which explored the intricacies, faults, and ultimate redemption of the Church. Although establishing Webb's reputation as a game-changer from the first with some edgy language and themes, the album also produced enduring selections such as the title track and "Wedding Dress," both of which continue to resonate with listeners a decade later.
As the initial ripples of 2012's technological commentary album Ctrl were dying down, Derek Webb announced his intention to revisit some of the themes of She Must And Shall Go Free with the perspective built by a decade of engaging (and often inciting) dialog about the identity and function of the body of Christ. The result is I Was Wrong, I'm Sorry & I Love You, a 12-track long collection that is part autobiography, part commentary, part confession, all tempered by an earnest humility that ties the conversation together.
The album begins with the title track. The opening verse makes references to each stage of Derek Webb's career (as is clarified by the recently released corresponding lyric video), wrapping it up with a line that could serve as the whole project's thesis statement: "Over all these years, just three things I've tried to say: I was wrong, I'm sorry and I love you." It's a statement of breathtaking honesty that establishes the attitude necessary to approach matters as massive as those of the Church, a rich humility offered in a way that makes listeners (whether fans or skeptics) rethink much of Webb's previous work.
Throughout the album these three things, which Webb has stated are the most important statements for any relationship, continue to surface and work themselves out. Musically, the opener's melody is perhaps unusually pop-slanted for the artist, but the clamor of raw instrumentation in the chorus stays consistent with the folk-flavored indie style of his early solo work.
"Eye of the Hurricane" starts with the deceptively cheerful chirp of an acoustic guitar, beginning a song that could initially be a simple tale of travel. The song quickly progresses into the story of a prodigal contemplating home, a traveler experiencing the awkward discomfort of realizing, "I am the man from which I am running"-- an experience compared to running inside the eye of the hurricane, a place where faltering for a moment will thrust you into the chaos of the storm.
In what may be the most direct link to his debut album, Derek Webb uses "Lover Part 3" to expand on the theme of God speaking to His church, an idea previously explored both on She Must And Shall Go Free and 2004's I See Things Upside Down. Whereas the first part of this theme spoke primarily from the authority of a Father to a son returning home, "Lover Part 3" vocalizes the transcendent love story of Christ and the Church as His bride. The instrumentation is suitably gentle and reserved, letting the intensely poetic language take center stage.
"Closer Than You Think" grinds out a more gritty rock and roll instrumental bed, backing a song that explores communication (often miscommunication) inherent in the process of a community learning to relate to God. "Heavy" returns to a more bare bones approach musically, which lends itself well to the slightly plaintive tone of the song. This is a song where the element of apology is vocalized in a dialog framing the complex tension of issues like faith and fear, desire and abstinence, marked by confessing a common church reaction: "I try to make light of things I can't deny are so heavy."
"Everything Will Change" is a beautifully unashamed song of hope, using the verses to acknowledge the deep pain and disillusionment that comes from contact with the deep, human flaws of the Church while offering the soaring, anthemic chorus to extend the comfort that "one day you'll wake and the curse will break, and even you won't be the same. Your hope is not wasted on the day when everything will change." This fresh look at a traditional theme is followed by "I Measure the Days (Simplified Anglican Chant)," an interlude that is mostly self-explanatory in its title and intensely liturgical in its cadence and content.
"A Place At Your Table" uses playful instrumentation with hints of jazz guitar to explore the cross-denominational concept of communion or the Lord's Supper. Rather than espousing a particular doctrine on the topic, Webb focuses instead on the enduring mystery of the experience itself. "Nothing But Love" begins as a piano ballad, though as it works carefully through themes of being wronged and loving, synthesized layers and crackling drums swell underneath the resounding vocals.
Despite a slightly playful veneer, "The Vow" has an earnest heart as it explores the theme of marriage vows (which could both be literal or metaphorical depending on the audience's focus). Suitably, Derek Webb's wife and fellow musician Sandra McCracken lends her sweet backing vocals as a stabilizing element in the upbeat track.
"Your Heart Breaks In All The Right Places" features some of the cleanest guitar and vocal tones, building the atmosphere of an unguarded love song. Thematically, this is a conversation with God, recognizing both the sacred mystery and the vibrant intimacy that comes from beginning to know glimpses of His heart.
The album wraps with "Thy Will Be Done," a take on an old hymn surrendering actions, attitudes, and opinions to the loving sovereignty of God. The high church language preserved from the original with the simple melody structure and instrumentation give this song a sense of being steeped in its tradition, closing the collection with a kind of musical and thematic recognition of the heritage Webb is a part of as a Church songsmith.
Closing Thoughts:
Upon the initial announcement of a follow-up to She Must And Shall Go Free, it might have been assumed that Derek Webb planned to retract his past. However, I Was Wrong, I'm Sorry & I Love You is a culmination, not a contradiction, of Webb's previous body of work, reflecting past themes while recasting them with humility.
If listeners come to the album seeking mantras to repeat or banners to stand behind, they will be disappointed. This is an album of humbly engaging questions rather than offering definitive answers, the narrative of a Christ-follower navigating the complex, flawed, and beautiful institution that is the Church.
Musically, the album is layered to the point of sounding almost muddied if taken at face value, but offering sonic depths to plumb on repeat listens. Although those previously offended by or just not sold on Derek Webb will most likely still not find the kind of spiritual clarity they are looking for on this album, they are given the chance to see a Derek Webb who is not just an agitator for conflict's sake—he is human, and he offers the rare courage of owning up to that with three simple pleas: "I was wrong, I'm sorry and I love you."
Song to Download Now:
"I Was Wrong, I'm Sorry & I Love You" (Get it on iTunes here.)
Deciphering the Scarecrows | Posted July-19-2013 Scarecrow has been a slow-building storm for Decyfer Down. After weathering the transition from original frontman Caleb Oliver to TJ Harris during production of 2009's Crash, fans settled in to wait on an uncertain future release. After four years, the band is delivering the long-promised follow up with the August release Scarecrow.
From opening track "Memory," it's clear that this album is going to carry a level of grunge and twang in the guitar tone not heard on previous Decyfer Down releases. This may be largely due to the fact that this album is the first that is truly in the hands of TJ Harris, and he directs it more towards a scorching, distorted grit than towards the smooth dark-edged sound of Crash. "Westboro" establishes that the band isn't afraid to talk about what's getting under their skin, as the song denounces the hate-filled behavior of an infamous church. The lyrics equate the church's behavior to building a hell on earth rather than the kingdom of Heaven.
"My Worst Enemy" paces itself a little more evenly than the first two tracks, giving itself more musical breathing room as it explores the theme of spiritual self-destruction. "Say Hello" features heavily distorted riffs by guitarists Brandon Mills and Chris Clonts alongside some of the stronger songwriting on the album, wrestling with trying to let go of a harmful past relationship. "Say hello, cruel irony," the song mourns with a lingering, regretful melody.
"Bleeding Lies" is one of the slower selections. This is another song of introspection, the singer recognizing that he has become exactly the man he shouldn't be while inviting truth to perform its healing surgery. This song utilizes the upper stretch of Harris's range well, stretching the melody upwards in an anguished plea. Rock single "Fight to Win" follows, grinding out a riff to support an anthem for when right and wrong go head to head.
Title track "Scarecrow" is perhaps the strongest offering, using the image of a hollowed out, rotting scarecrow to mirror the empty judgment and scornful pride of leaders abusing their power. The scathing chorus spits the words "scarecrow, save yourself! / Hollow soul, I don't need your help."
"The River" deviates from the status quo. From the first verse's sliding dual guitar bed it's clear that this is more country-influenced than the rest of the album, drawing both musically and thematically from some classic folk and southern spiritual themes. "Take me down to the river / wash the dirt from my hands. / I've been traveling so long in this foreign land," the song prays.
"Some Things Never Change" is the song of a prodigal, outlining the path of a heart always wandering from God's will yet always being drawn back by God's grace. The album's Christian rock single "So In Love" closes out the collection. Given that this is by far the most accessible track on the album it's a good choice for a single, straying at times into territory close to worship as it earnestly declares the beautiful need to find our identity in Christ and His love alone.
Closing Thoughts:
After Decyfer Down's long silence, it's good to hear new material from the rock outfit. This album shows lead singer TJ Harris truly taking the band's direction into his hands, owning a sound that has progressed from but still ties into the original sound of 2006's End of Gray. Although the pacing is at times rushed and the songwriting is a little hit or miss, the hit moments certainly drive home. Thematically, the album boldly strikes a balance between calling out the prideful while also recognizing a personal need for grace, backing it up with aggressive guitar grit and striking melodies.
Electronic Animation | Posted June-21-2013 Family Force 5 has long been known for their rock-turned-dance-party approach to music. With their sizzling summer remix album, one of the most dance-inducing bands in Christian music just kicked it up to the next level.
The album starts off with one of the three tracks not heard on previous albums, the in-your-face single “Chainsaw.” Tedashii spits some rap rhymes on the bridge, adding to the gritty tone of the track. “Phenomenon” is the second original song, taking a much more slick and atmospheric approach. This track is one of the results of FF5 frontman Soul Glow Activatur’s partnership with NGEN radio.
“Superhero,” a late addition to 2011’s III, is the first to get the remix treatment. The Nico Stadi remix doesn’t remove the sober and vulnerable heart of the song, but it changes the musical vibe to a dark-edged dance track with sharp vocals. “Cray Button” comes next with a remix that removes some of the rock punch of the original while still maintaining a very beat-centered danceability.
A quirky, dynamic treatment of “Wobble” takes the track in a very different musical direction from the original, although the alternately chill and grungy sound works surprisingly well. “Can You Feel It” is also taken in a much different direction with a remix that glosses over the original’s high octane rock and roll feeling in favor of a drifting, extra-terrestrial detachment.
“Paycheck” features the strongest dubstep influence on the album, taking an already more sober song in an even darker direction with deep vocal distortion and dirty bass drops. Previously heard in the music video credits, the full “Zombie” remix takes some of the strongest melody elements of the original and layers it with some intense electronic programming.
Bass-heavy “Get On Outta Here” gets a remix that maintains the aggressive self-confident swagger, drawing out the already strong beat even more to emphasize the punch-in-the-face quality of the song’s theme. “Next Level” is another new track featuring British rap outfit LZ7. This is music tailored to pump up a crowd, bringing out the best of Family Force 5’s high-energy dance party elements.
The last dance remix takes on Family Force 5’s older classic “Love Addict.” This take on the song effectively updates the song to a style closer to the five piece’s more recent electronic dance direction without toning down the energy level. The album finishes with an acoustic cover by David Harwell of older Family Force 5 jam “Pur Ur Hands Up.” The arrangement works surprisingly well, although the chill acoustic sound seems slightly out of place beside the bumping beats driving the rest of the collection.
Closing Thoughts:
Reanimated is a solid collection of remixes that should effectively tide Family Force 5 fans over until another full release while also potentially drawing in more electronic music fans. It’s a good balance of maintaining the heart of each song while still giving each enough of a makeover to give fans a reason to purchase the reimagined tracks. This is also a very worthwhile purchase for anyone looking for a solid, bass-heavy dance album with clean lyrics that still maintain an energy-infused punch.
Skillet's career is a success story 16 years in the making, covering what might be the most varied musical span of any band in the contemporary rock arena.
Fans from over a decade ago might remember them for the high octane electronica worship stylings of Alien Youth, while a younger generation knows them best for the massive symphonic rock sound concocted for Comatose and refined for 2009's platinum hit, Awake.
After four years riding Awake's wave around the world in non-stop touring, this summer sees the release of an album synthesizing the perfect storm of elements from the band's diverse discography. Rise fuses the gritty guitar edge of Collide and Comatose, the intricate synth programming of Invincible, and the worshipful heart posture of Alien Youth to create an album that is a highlight of Skillet's already remarkable history.
From the album's kick-off with the title track, "Rise," Skillet clearly defines a theme of coming of age in a chaotic world. The imagery of a broken nation is as visceral as the gritty guitar bed, balanced by the haunting layers added by a children's choir as the song portrays a world deeply in need of change. The song concludes with the first of several musical interludes, combining pieces of sobering news reports with the harsh words of a parent tied together by a chilling electronic backdrop.
The album's lead mainstream rock single, "Sick of It," provides a response of discontent to the world portrayed by the opener. This is the most straightforward track on the album lyrically, channeling trademark hard rock aggression into a call for rejecting the broken status quo.
"Good to Be Alive" is the first signal that this album is going to hold some musical surprises for Skillet fans. This feel-good, shimmering summer anthem employs a youthful pop sound that might be surprising coming from a rock outfit, but is masterfully executed nonetheless as it declares "you and me against the world, it's a beautiful night. It's good to be alive." This track ends with a second interlude, hinting at an unsettling darkness through chilling choral work as it transitions into the next track.
"Not Gonna Die" draws the signature symphonic rock sound to the fore with complex violin chasing the soaring interplay of frontman John Cooper's brutal voice and drummer Jen Ledger's spine-chilling soprano. This is a blood-stained battle hymn; a declaration against despair.
One of the best riffs on the album crashes onto the scene next with "Circus For A Psycho," a selection that showcases well what guitarist Seth Morrison is bringing to the table on his first album with Skillet. The guitar work is both technically clean and intensely aggressive, perfectly backing a song that lyrically takes a stand against chaos and cultural lies. Another interlude of radio chatter and alarms ends the song.
The CHR single "American Noise" follows with a much gentler sound, answering the previous few tracks with a call to "let love cut through the American noise." The ballad sound is closer stylistically to the older "You Are My Hope" rather than more recent soft offerings, providing a refreshing but familiar break in the hard rock whirlwind.
Another rocker follows with "Madness in Me," a song thematically similar to "Monster" but with more complex and mature undertones. The final interlude of the album wraps it up, serving as a transition from chaos to haunting stillness.
"Salvation" marks a thematic transition on the album from recognizing the need for change to the process of redemption itself. Here Jen Ledger's vocals take the lead in a darkly beautiful melody, which frames a desperate and honest plea for salvation. This is a conversation with God from a heart at rock bottom, acknowledging that the only source of rescue is found in Him.
"Fire and Fury" provides an aftermath moment of vibrant but vulnerable worship, layering Korey Cooper's keyboard programming skills under John and Jen's impressively complex and controlled vocals.
"My Religion" melds the grooving finger-snapping rhythm of a Southern spiritual with a classic rock-and-roll vibe, paralleling hymns lyrically as it sets God in place of all the trappings of religion. This is another musical surprise, though again they pull off the different sound with impressive effectiveness that immediately earns credibility. "Hard to Find" carries a more matured reaction to a broken world than is heard earlier on the album, singing more from weariness than anger as it offers the reassuring reminder that "You are my light when faith is hard to find." This is a song of comfort for sleepless nights.
"What I Believe" closes the album with a string-driven sound similar to previous hit song "Awake and Alive," though with more of an electronic edge. This final song concludes the collection with a declaration of commitment to Christ as the only reason worth living for in an empty society, coming full circle from the confusion and frustration expressed at the album's beginning.
Closing Thoughts:
This is the closest Skillet has ever come to crafting a concept album, tracing the journey of those coming of age in a confusing era—an experience that is intensely present for many of Skillet's listeners.
Despite being the most thematically unified of Skillet's eight studio albums, this might also be their most musically complex and diverse offering. The narrative of faith and fear is woven with crushing guitar riffs, dynamic dual vocals, alternate pop and rock melody styles, varied instrumentation, vivid electronic beds, and stylistic exploration that constantly pushes beyond the limits of their genre.
Skillet's Rise is an achievement well worth the wait, and it promises to set the bar high in the rock and roll genre for years to come.
In an era where rock-and-roll has long since left center stage or gone the direction of hollowed-out lyrics slicked over with pop sensibilities, the playing field for solid new rock debuts is more or less a wasteland. Enter We As Human, a five piece rock group who has spent years honing their craft through independent releases and plenty of time on stage. That dedication eventually led to discovery by Skillet frontman John Cooper, who steered major record label Atlantic Records their way.
The result is We As Human's self titled debut, released under the Hear It Loud imprint (a partnership of Cooper, attorney Todd Rubenstein and longtime Skillet manager Zachary Kelm of Q Management Group). In addition to their own impressive arsenal of skills, the We As Human guys drew on talents from other rock industry greats, including producer Howard Benson, who has produced previous cornerstone releases from bands like P.O.D., Skillet, RED and Flyleaf.
Mainstream single "Strike Back" launches the album with a blistering self-confident anthem, the words of the chorus growling over grinding guitars: "I've always said the bigger they are, the harder they fall / You're going to suffer / hit me, I'll hit back harder."
"Dead Man" (previously heard on their initial EP release with Atlantic) channels that initial aggression in another direction, giving voice to the violent struggle with our vices and capturing the way that grace kills who we were in order to bring us to life.
"Bring To Life" slows down enough to create space for the brilliant songwriting to shine, beginning in the restrained verse and building into the earnest and hopeful chorus with the words "You bring to life all that is broken / You can turn the tide before it's too late / 'Cause I'm not afraid of anything when You burn like a fire inside."
Follow-up track "Lay Me Down" offers a haunting intro establishing a darker edge that threads its way throughout the track, underpinning the theme of a desperate need for recreation.
Although the hard-hitting vocals of frontman Justin Cordle can certainly hold their own, the band chose to draw on the talent of some rock vocalists who have become legendary in their own right. "Zombie" features John Cooper of Skillet, a suitable pairing given Cooper's role in discovering and fostering We As Human's talent. This hook-heavy monster serves as a wake-up call to an apathetic society, carried by the powerhouse pairing of Cordle and Cooper's gritty, militant vocals.
CHR single "We Fall Apart" provides the softest moment on the album, exposing the vulnerability of humanity while simultaneously serving as a reminder that no one is alone in their brokenness. That theme is captured in the simple phrase, "we're so imperfect / but so worth it because we're not alone."
"Take The Bullets Away" features the second guest vocalist, Lacey Sturm (formerly of Flyleaf). This is a highlight track in an already solid album, pulling out a guitar solo that's strong without being overbearing and making the most of Sturm's signature scalding screams. The song serves as a plea to God to remove the weapons of our own self destruction, pleading, "Am I worthless, am I filthy? Am I too far gone for the remedy?" A slightly more hopeful voice shapes "Taking Life," a song building from an unusual rhythm in the verses reminiscent of a slightly updated form of rapcore.
Another song from their initial EP, "Sever," heralds the moment of separation from internal sickness, musically framed by the in-your-face guitar riffs provided by guitarists Justin Forshaw and Jake Jones. The album wraps up with a kind of mission statement in "I Stand." In a set of confidently bold statements, the band makes it clear that they're standing for truth in a broken world instead of seeking any recognition the world could offer.
Closing Thoughts:
On their major label debut, We As Human steps up to own their identity with a confidence and intensity rarely found even in long-established bands. Their self titled release is a perfect storm of searing riffs, dynamic vocals, and aggression channeled into lyrics fueling the struggle of death to self and rebirth to life. This band will be easy to watch; their explosive energy and bold stand on truth are going to make them impossible to ignore.
Rough and Tumble Rock and Roll | Posted May-10-2013
In addition to wracking up five incredibly solid full-length albums over the past seven years, rock group House of Heroes has also created a significant number of remixes, acoustic renditions, and singles on the side.
Unless you've been following them from the beginning, you probably haven't had a chance to grab each of these gems as they were released, and thus The Knock Down Drag Outs collection was born, providing a way to get those side selections into fans' hands.
Because of the fact that it's a compilation album, the 19 songs that compose The Knock Down Drag Outs are extremely diverse. The album begins with a set of B-sides and songs previously only available with EPs or singles.
The album starts with lead singer Tim Skipper showing off the grittier side of his vocal range on "Dead," spitting "I might be dead by the time you hear this song." This is an example of the classic gritty rock and roll side of House Of Heroes at its finest, complete with raw guitar riffs and punch-in-the gut lyrics pumped full of adrenaline. This is a sound that comes out again on "Galveston," a narrative track about some of the heartache of growing up, and also on "The Young and The Brutal"--an anthem for a dangerously restless and apathetic generation looking for something for which they can fight.
The foursome has more up their sleeves than just their rock and roll sensibilities, which quickly becomes apparent with "Choose Your Blade." The song details a moonlit confrontation with your own personal demons, framed in folk-style songwriting and instrumentation that builds a subtle Western vibe. That same slight twang comes out again on "Your Casualty," a song which also showcases the upper stretches of Tim Skipper's vocal range as his voice climbs through the words "cast me out on bitter winds, a diamond in the sun." "New Moon" captures more of the folk side again, both musically and in the vividly poetic lyrics.
"Patient" is the stand-out ballad of the collection, sung like a vulnerably earnest prayer over a soft piano backdrop, confessing, "I see you, and I know the truth / And I still want you, you are the grace that I believe in." The song "Ghost" is a ballad more in the vein of classic country, following the story of a small town boy who gets mixed in with the wrong crowd and loses the ones he loves in the process.
The collection includes two acoustic arrangements of tracks from House Of Heroes' 2006 release Say No More. "If" remains upbeat and almost danceable despite the acoustic re-working. "Serial Sleepers" takes on a much more haunting feeling with a restrained arrangement bringing out the best of Tim Skipper's piercingly clear, controlled vocals.
A generous three covers of classic songs by The Beatles are also included, a fitting decision given that the band has commonly been hailed as a modern-day incarnation of that iconic rock group. Classics "Can't Buy Me Love," "It Won't Be Long," and "Ob-la-di, Ob-la-da" all get the House Of Heroes treatment, retaining the core of the original while gaining a slightly harder rock edge. Here the four members work together to pull off many of the cornerstone harmonies of the originals while still very much retaining their own musical voice.
Two songs from last summer's Cold Hard Want get a thorough remix treatment. Solomon Olds (Soul Glow Activatur) of Family Force 5 remixed "Remember The Empire," creating a much more textured, danceable version of the song without losing the strong melody. The McSwagger remix of "Suspect" takes a more complete overhaul approach, turning the rock tune into a surprisingly polished club-styled pop song.
The collection wraps up with an intriguing partially acapella mashup of tracks from 2010's Suburba. The result is a somewhat haunting medley of the voices of suburban American youth.
Closing Thoughts:
This is an incredibly diverse collection that beautifully represents House Of Heroes's strengths in a variety of areas, making it the perfect addition to any fan's collection and a potential positive introduction for anyone wanting to give them a try. House Of Heroes is a rock band as rock and roll should be— raw, occasionally tongue in cheek, layered without being overly complex, and always deeply human as it addresses growing up, relating to others, and seeking to know God.
MaryNikkel_NRT's Music and Book Reviews 
