Reliable Rock | Posted March-03-2016
There's something to be said about bands that consistently reinvent themselves and find new avenues to express and expand upon their creative identity. Yet, there's also something to be said about a band that has found something that works for them and consistently produces a satisfying product that utilizes the best of their particular flavor of music. Decyfer Down has consistently proven that they are the latter. Though the group gained a southern rock flare after their debut when TJ Harris replaced Caleb Oliver on vocals, they've largely built their following on a straightforward hard rock platform. This remains the case on their new independent outing The Other Side of Darkness.
Decyfer Down does rock, and they do it well. And as many of us critics are noticing, that is becoming an ever-shrinking breed. While those who felt their previous albums were too generic may remain unmoved here, this longtime fan found a lot to love.
"Dead Skin" and "Beautiful Lie" are classic DD songs with memorable choruses and a crunchy guitar structure. There's an element that sets this album apart from their past outings: the rock has been amped up a few notches and is rawer than anything the band has done before. Lead single "Nothing More" even features screaming at times and is one of the harder songs in the band's catalogue. But "Believe in Me" offers a nice contrast, a soft piano-based number that builds into a rousing rock ballad. "Lifetime" strikes a nice balance between the two styles.
An acoustic remake of "Burn Back The Sun" (originally from the band's debut End of Grey with vocalist Caleb Oliver) closes the album. It's nice to finally have a proper studio recording of the song with Harris's voice, and the stripped back approach offers a nice new take on the song. But given the short tracklisting, it does feel a little bit like filler.
A few of the songs also don't quite land as well as others, making for something of a mixed experience overall. Still, given the lack of true rock releases, this album probably satisfies even more than it would in a crowded field. It's hard to come away from this as a rockhead not having enjoyed it.
The Bottom Line: This is pure, unapologetic rock, and it succeeds at delivering exactly what it sets out to.
Committed to the Good News | Posted February-29-2016
I think it's safe to say that, several albums in, both fans and the band have settled into the Michael Tait era of the Newsboys. We know what to expect, musically and sonically. And with a God's Not Dead sequel hitting theaters this spring, it's no surprise that several of the songs on their latest album, Love Riot, seem designed to tie into similar themes.
The signature marks of the hits under the Tait era thus far are displayed in lead single "Guilty" and the bold opener "Crazy." Echoes of "God's Not Dead" (and even "Jesus Freak") abound with themes of boldly standing for Christ in a world often opposing Him.
"Family of God" and worship cut "No Longer Slaves" offer encouragement, while the title track and the legacy-minded "What I Want Them To Say" offer calls to action. The electronically-tinged pop rock is primed for radio and headlining live sets in sold out arenas. Tait's vocals are some of contemporary Christian music's best; he can sell pretty much anything he sings. The music mostly keeps up with those vocals, especially on gems like the exciting title track. Some melodies sound a little well-tread, and some of these themes have been played out quite a bit, but none of that detracts from the album's grand presence or the foot-tapping hooks.
If you're expecting something astoundingly innovative, this may not be where to look. The past few years have cemented what this era of Newsboys will sound like, a sound which has become a defining force in CCM. This album essentially epitomizes what contemporary Christian music looks like right now: the message, the passion, the sound and the meaning. This is an example of CCM at its best, delivering earworm after earworm.
The Bottom Line: Expect to hear several of these songs top radio charts this year and further solidify the Newsboys as one of CCM's signature acts.
An Electrifying Ascent | Posted February-19-2016
Is rock dead? That's a debate for another day, but it's certainly true that many rock acts are shedding their bass-heavy breakdowns for electronic-driven synth hooks. The latest album from Nine Lashes, Ascend, finds them too diving into poppier electric sounds.
On the one hand, the change may be a letdown to longtime listeners as the rock from previous albums is almost completely gone here. The band has dabbled in electronic sounds before, but this is pretty much a complete genre-shift in one album. Yet at the same time, the resulting sound is incredibly addicting and high quality. I can't remember the last time an album has simultaneously both disappointed but then exceeded expectations to this degree. But regardless of what it was I wanted from Nine Lashes, these songs satisfy.
Opening track "Heartbeats" is an attention-grabber with a fast chorus and juicy hooks. "Deeper" feels like something Manic Drive would do, and the Nine Lashes guys pull it off with ease. "Eyes on You" is another stunning example of this new electric pop/rock sound that fits like a glove for Nine Lashes. Piano and synth hooks combine with gripping melodies to form an album highlight.
While the vocals and some of the music (lead single "Galaxy" is a great example) still carry the influence of the band's edgier days, it's polished and softened enough that it may drift from many of the band's existing fans while appealing to a whole new market. No strangers to radio ballads, Nine Lashes goes full-on CCM in several of the album's cuts. "The Chosen Ones" is the first of these, with a really great acoustic/piano hook and soothing verses. The chorus is less memorable than the rest of the song, but it's an overall well-rounded cut.
"Glorious" embraces pop praise and worship in the chorus, doing it much better than your average praise and worship act with the music and delivery actually making me believe it. "Stolen" embraces pop chants and sugary beats and choruses, building a sound that would instantly be at home on Air-1. Several other cuts bear this softer approach that is decidedly less rock album than anything the band has done to this point.
This is good stuff for pop/rock fans-- really good. Even the album's less stand-out cuts are superior to most of what's on the radio. The "edgier" pop/rock tunes might not be as easy to headbang to, but they are catchy and danceable and still give the standard Christian rock lyrical meat. Had this been a debut release from a new pop/rock group, this would be unquestionably an overwhelming surprise and an album to really get excited about. And honestly, it is still an album to get excited about, even if I wish it didn't come at the expense of a great rock sound.
The Bottom Line: Any disappointment from rockheads aside, Ascend is a terrific album on its own merit, with energetic hooks and truly great songs.
An Album With The Perfect Title | Posted February-16-2016
When Anberlin broke up, the music industry lost one of its most profound and engaging musical presences. Fortunately, all is not lost. Stephen Christian, the guy behind those signature vocals, is still very much involved in making music, and his side project Anchor & Braille is back with a third full-length album.
Those familiar with the project know that these songs explore Christian's softer side. This time, he adds in a heavy dose of electronic influence that makes the songs feel more alive than ever. The album title, Songs for the Late Night Drive Home, sounds outrageous at first, but it becomes increasingly appropriate with each listen. It's as if Stephen Christian got into a car late one night and wrote these songs while driving home. The music fits the surreal, neon light-fueled night landscape, and the lyrical musings that Christian is famous for are perfect representations of the kind of conversations had with oneself after midnight.
"Nightfall" boasts a lush and vibrant musical landscape and includes one of Christian's signature memorable lyrical statements: "I know it's hard but you've got to hold on to something to believe in." "Still Looking" gets the closest to an Anberlin chorus, upbeat and soaring, making it another of the album's memorable cuts. "Live Fast. Die Young" is a single-ready number with a briskly paced chorus that again exemplifies a "driving through the city at midnight with the windows down" vibe.
The electronic elements work to the album's enjoyability. Even though this album doesn't satisfy like an Anberlin album, it's still a rich and meaty treat with layers that demand to be peeled back slowly over several listens.
The Bottom Line: This is not Anberlin. But it is another side of master musician Stephen Christian, and virtually anything that guy sings is worth your time.
Made for Success | Posted February-10-2016
So you like the styles currently popular at Christian radio? Can't get enough of the accessible pop/rock that sounds great at Winter Jams and festivals? Then I have good news for you: JJ Weeks Band is here with a delivery of high-quality tunes to turn up the volume on.
You might already know them for hit single "Let Them See You," which was also recorded by Colton Dixon on his debut album. Their full length Centricity debut release As Long As We Can Breathe introduces them in an all new way this year.
Lead single "Alive in Me" is a soaring pop anthem that should capture significant radio love. "Rooftops" brings in Tedashii for a performance that helps make the track one of the album's most memorable, both for its rapped bridge and slightly more energetic approach.
Softer cuts like "Higher" are enjoyable and catchy entries that demand to be heard on your local AC radio. The music is familiar, drawing favorable comparisons to acts like Sidewalk Prophets and NewSong at times. Yet, the music is well crafted enough to stand on its own and never fade too far into any kind of overly familiar trappings. I could definitely see several of these songs becoming mainstays in the CCM world for much of 2016.
The Bottom Line: It's not going to reshape the CCM genre, but it will give Christian radio some welcome hits, and that makes it a winner.
A Sneak Peak of Sanctus Real 2.0 | Posted February-09-2016
After months of teasing following the departure of founding frontman Matt Hammitt, Sanctus Real recently announced that Dustin Lolli will be stepping in as the band's new lead vocalist. This is Love, a 3-song EP, gives us the first taste of what the new Sanctus Real will sound like.
Lead single "This is Love" is the EP's best cut by far. The song spends most of its time in soft and contemplative territory, with thought-provoking lyrics and a soothing delivery from Lolli. It gives off artistic vibes that feel more like an indie band than standard CCM. But fans of the old "rock" Sanctus Real are treated to a pleasant surprise in the song's climactic finish, with pounding guitars and a rocking performance from Lolli making for one of the strongest finishes to a Sanctus song in years.
"Find Me" takes a bit safer of an approach, sounding a bit more "radio ready" with a similar slow build to a more upbeat climax (not quite as strong as the first track's). "My Desire" again showcases Lolli's powerful ballad vocals with another soft cut that is a hopeful sign that this band will be all right, even if Matt Hammitt will still be missed.
It's a bit disappointing that only the ending to "This is Love" shows signs of the band's rock roots, but Lolli's vocals are nothing short of captivating and lift this EP to be an encouraging sampler of what's to come.
The Bottom Line: Musically and creatively, Sanctus Real has managed to change lead singers and still sound incredibly good. Keep an eye out for when they drop the full-length.
Heed the Messengers | Posted January-22-2016
They're opening Winter Jam, and now they're releasing one of 2016's first standout debuts. Word Records has a knack lately for finding some stellar new faces and dropping them right into the middle of popular CCM. With Irish charm and some Mat Kearney vibes, lead singer Darren Mulligan fronts an exciting pop act in We Are Messengers. They pack quite the sonic variety too! There's radio ready pop, praise and worship and even a few tasty techno hooks. Don't let those popular labels fool you, though. These guys boast a unique character driven largely by Mulligan's commanding vocals.
Lead single "Everything Comes Alive" is a foot-tapping romp that screams radio smash, while at the other end of the spectrum there's "I Don't Have The Answers," which is a soft and reflective confessional-type offering. The vocal delivery on this is really spot on and bone-chilling good.
On many songs, behind soaring choral vocals, popping drums and electro beats, they've tucked absolutely gorgeous piano hooks. "Shadows" makes great use of this and is an absolute delight. Look for this one to take off later in the album cycle. "My Ghost" boasts an irresistible chorus that I could totally see being used in a promo for a television drama. Tap your foot along to this one all year long.
Like several recent Word debuts, the track list is a tad bloated and could have benefited from some streamlining, but the highs weigh far in the album's favor.
The Bottom Line: A healthy dose of standout songs propel this release to become one of the year's most promising debuts.
Song to Download Now:
'"Everything Comes Alive" (Get it on iTunes here.)
Reminisce with Stu G | Posted November-27-2015 Delirious? was one of CCM's most recognizable presences for years, and members still continue to be relevant in the biz. While perhaps better known for the Brit-pop powerhouse vocals of Martin Smith, Stu G was an essential co-writer and backing vocalist to the Delirious? sound.
Have You Heard was a strong EP presence that is revitalized here with a few reworkings of some of the songs and a live recording of the rocking "Come Like You Promise." The pop stylings that made Delirious? great are all on display here, and the updates are upbeat and engaging reimaginings. "The Rain [2015]" is an especially successful remake.
The Bottom Line:
This is definitely worth checking out for die-hard Delirious? fans.
Falling Into A Grand Finale | Posted November-17-2015
One thing you can't ever accuse Falling Up of is playing it safe. While their early albums on a record label were arguably much more radio friendly, their music has always challenged the limits of what rock music could be. Going independent only took that into the stratosphere. Giving us perhaps more music after than before their first breakup, Falling Up have decided to call it a day for real this time. With one last crowd-funded release, their self-titled finale gives us one more musical adventure.
Really, this album is everything you'd expect from Falling Up. The quirky titles (often with little recognizable connection to their lyrics) are there. The cryptic, lengthy, mysterious, storyline-based lyrics are there. The lush and varied musical moments are definitely there. Be it synth driven hooks, excellent guitar stretches, or soothing chime and key interludes, Falling Up make music unlike any other band around.
Underneath the borderline nonsensical lyrics at times are profound statements on life and faith, wrapped in a story undercurrent that fits with their previous work. Falling Up is always a band to reference their past, and there are several of those moments peppered throughout this release. Jessy Ribordy is at the top of his game, as always, vocally. He can hit gruff rock vocals or soothing soft notes. His voice is so suited to these songs that it's hard to imagine them working under anybody else.
This is a sound that screams to be made into a movie score. This isn't an album built for radio or commercial success, but there are fantastic and unpredictable melodies and a dynamic range of musical offerings. The piano hook of "The Woodworker" is nothing short of enchanting. "Flora" has a guitar post-chorus hook that is a standout in the Falling Up body of work. "Wild Bird" boasts an insanely catchy rock chorus, while "The Insect" carries a surprisingly emotional and passionate ballad chorus.
Masters of both the soothing lullaby level ballads ("Up in Houses") and the catchy rock ("Flares"), the album has everything represented. This isn't easy listening: there's so much here that's good, it will take several listens to discover even half of it. This is a deep and rich musical experience that commands your attention. From the opening ethereal sounds of "Boone Flyer" to the chanting outro of "Flares," Falling Up's final bow is a terrific way to close out their collection.
The Bottom Line:
This bittersweet goodbye is a triumphant finale to one of Christian music's true high art bands, and I'm proud to have been a fan.
Find Your Way to The Exchange | Posted November-13-2015
The Exchange offers a new option for those looking for modern radio pop/rock. With a bouncy and energetic sound, on their latest effort Compass The Exchange tackle honest and personal topics through the lens of sound musicianship and vocals that aren't as over-polished and autotuned as many comparable projects.
The band excels at the big, anthemic pop sound, and songs like the leadoff "Sparks" and the rousing closer "Running Home" exemplify the best of this. The lyrics tackle familiar but commendable territory in the Christian realm, playing it safe without getting too caught up in the cliché. The band's sound could benefit from a bit of fine-tuning in terms of better finding their signature sound and diversifying their stylistic approach, but this collection of songs still merits a listen for fans of the genre.
The Bottom Line:
Pop/Rock fans should take note: they may discover a promising addition to their playlist.
JJFrancesco_NRT's Music and Book Reviews 
