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...
Brood of Vipers: Driven by Truth | Posted April-13-2013
If you’re tired of giving up the shred-your-face-off quality of hardcore in order to find music that carries truth, your days of compromise are over.
Toarn is a five piece hardcore/metal outfit from Seattle with a heart for sharing the gospel through every crushing guitar riff they deliver. The band’s latest, Brood of Vipers, captures that dynamic well throughout each of the six tracks.
“The Blood Has Been Shed” opens the collection with a steady build into the first hammering riff. Toarn opts for scratched melodies and thunderous growls here and throughout the album, leaving clean vocals by the wayside. “Lions Become Lambs” follows it up with a driving tempo and thick, layered guitar tones. The lyrics of the song begin pleading “is this all we are? Trying to find a sense of satisfaction” and resolve with the declaration of the chorus “when lions become lambs, I find who I am.” The bridge breaks down to spoken vocals, providing a momentary change in pace perfectly timed to hold the listener's attention.
Title track “Brood of Vipers” is pure brutality, leaning heavily on fast metalcore drum stylings and a buzzing guitar sound almost reminiscent of a snake’s hiss. This song also features a well-structured breakdown amidst the intensity, pulling off some genre trademarks with intentionality without resorting to overly-contrived conventions. “Something About Your Name” takes the familiar phrase and prayer from the faith tradition and sings it through a different lens, proving again that music can be both worshipful and brutal in the same musical moment.
“Separation of Body/Mind” takes a fairly straight-up metal approach musically, blending high scratch vocals and deep growls to create a theme of an intense fight to be freed. One of the highlights of the collection comes at the end with “Bloodstained Love Story,” which makes beautiful use of a clean dual guitar intro to lend a sharpness and a poignancy to the track from the first riffs. Although the guitar work remains a strong point throughout, the lyrics hold their own as well, screaming out what could be a cornerstone phrase of the project as a whole: “oh my God, it is impossible to walk this path on my own.”
Closing Thoughts:
Though Toarn is still a new face to the Christian metal scene, they’re certainly coming out of the gate fighting. Brood of Vipers serves up a rock solid dose of blistering riffage and gritty vocals, tempered by a humble, human presentation of the gospel. Although some of the songs might benefit from a little more musical breathing room, overall the album showcases well a band coming into their own.
Embellish: An Electronic Gem | Posted April-10-2013
Although things have been a little slow for the pop/punk/rock fusionists Eleventyseven lately, the group's frontman (Matt Langston) hasn't slowed down, choosing instead to focus on his playfully-named side project, The Jellyrox.
The Jellyrox's latest project is Embellish, an EP that is as sparkling and beautifully crafted as its name might imply. The project starts on a note of whimsical restlessness with "Someone Else," the slightly lonely lyrical voice stating, "I wake up wishing I was someone else, in a different circumstance, with a different set of plans / And I feel like the world expected someone else."
Although the subject of self-discontent is one usually seen as primarily a teenager topic, the expression of living in a world that demands we are liked by everyone is universally relatable. The song's bridge wraps up with a gentle but pointed push to look outside ourselves in order to escape discontent.
Through the verses of "Condo," Matt Langston provides an uncomfortably realistic look at adult life, complete with bills, housework, and accidentally putting a phone through the dryer. The chorus concludes wryly with Peter Pan-inspired youthfulness "I want a condo in Neverland."
"Rebel Tide" is more grounded, coming from the place where the reality of human need meets the supernatural. The songwriting is both ethereal and piercing in its lyrical imagery. The second verse captures a breathtakingly vulnerable moment in the lines, "praying like a child on Christmas Eve / Father, won't you raise the sun early? / I ask an awful lot of both my knees / just waiting for You."
That more mellow moment is countered by "Fade to Fiction," which maintains a more upbeat electronic tone despite lyrics dealing with themes of mortality, seeking purpose, and the transparent nature of human life. The vocals are both slick and frank, providing a solid human anchor amidst the glossy electro-pop layers. Both in the instrumentation choices and melody style, this track is very reminiscent of early Owl City.
"Twisted" deals with the darker side of teenage life, looking at the way self-destruction can so easily become validation. The song carries a note of caution beneath its candy-sweet musical surface, lamenting, "You think you're only worth what you can earn, what you can hold."
Continuing in the theme of identity established early on, the EP wraps up with "Your Oasis," which is a cathartic song about getting beyond the point of allowing yourself to be controlled by others' expectations. The verses take a much more stripped down, chill approach, though the rich electronic constructions return for the chorus.
Closing Thoughts:
If you've been looking for an electronic album that is as exceptional as it is unpretentious, this is a project for you. Between the shimmering synth builds and the whimsically young yet honest lyrics, this is a collection that truly shines. Blending just the right amount of reflection and tongue-in-cheek cleverness in the lyrics, Matt Langston has created an EP that is solid from beginning to end both musically and lyrically.
Casting Off - I Am Empire's Anchors | Posted April-05-2013
It's not an easy time to be playing in a rock-and-roll band. I Am Empire is one of the few fresh rock acts willing to fuel their music with as much blood, sweat, tears, and passion as necessary. Since their Tooth & Nail debut two years ago, the band has weathered the challenges of road life and an industry climate that makes it hard for bands to endure past the first record. The result is the raw, matured sophomore follow-up to Kings, the dark-edged new album, Anchors.
From the first notes of opening selection "Gravity Bomb," it's clear that the guitar work is going to be a strong force in focusing the songs with its gritty tone and bone-crushing riff style. "Gasoline" carries a more frantic sound without losing the sense of structure as it explores themes of forgetting what lies behind.
"All Around Me Now" is one of several tracks demonstrating frontman Austin Lyon's knack for creating lyrics that are poetic without being too obscure. His clear vocals also provide a haunting vibe on songs such as the introspective "Tell Me Mirror." Honest self-examination coupled with the redemptive force of a gracious God is a trend for the songs on this project, providing a refreshing dose of relatability. The song "Labor"--which contrasts the emptiness of the career-driven "American dream" with a life lived for Christ--nods to the theme of the album as a whole: "told me ‘the worst of your days are sinking away with an anchor.'"
That theme of cutting ties with the heavy weights we've carried and living fully in the freedom God's redemption has created is highlighted by "Remedy," a track where the dark edge is restrained to create a stronger emphasis on hope even in the musical sound. This track also relies heavily on the rock solid tempo of drummer Eric Martin.
Although the richly raw and poignant lyrics stand strong throughout, I Am Empire doesn't neglect to add some blistering rock conventions. The beautifully written "Daylight" features a piercing solo from guitarist Andrew Stanton, and the moody "The Mastermind is Me" builds from a brutal rock riff.
Another album highlight is "Sing," a song that beautifully describes humanity's search for meaning met by God's grace: "I can't help by sing, waiting for the warm spring. Winter wears me down, falling to the ground, I can't help but sing." This is rock-and-roll worship at its finest, using soaring gang vocals to back the conversation between the singer and God.
The band's ability to thrive in diverse settings is displayed through the gentle love song "On A Rainy Sunday." Here Austin Lyon's clean vocals build a much different ambiance backed by stripped down, chill instrumentation. After the final notes of that track drift away, I Am Empire uses "Blackout" to end the album in a flurry of screaming guitars and forceful melody.
Closing Thoughts:
This is punk-influenced, hard-edged melodic rock at its finest, shaping stories of faith, doubt, and breaking free that draw the listener deep into the heart of each song. In a market saturated by electronic music, I Am Empire took the less-mapped route relying on complex guitar beds and raw vocals. It's a journey that pays off for fans, offering haunting selections that are sure to invite the listener back again and again.
Back in the Ring - Stryper's Second Coming | Posted April-04-2013
In 1983, an era when "Christian rock" was still considered by most to be a contradiction of terms, a band called Stryper took the stage equipped with metal riff sensibilities, bombastic classic rock vocals, and a uniform of black and yellow spandex.
The glam rock four-piece would spend the next decade fighting for the cause of music that boldly declared the Gospel without losing any of its rock-and-roll flare. A decade after calling it quits, the guys took the stage again in 2003. The band's hard-won position as one of the definitive acts who paved the way for the next two decades of Christian hard rock artists hasn't stopped them from holding their own in the present as well. Stryper's latest effort is Second Coming, a collection of 14 re-recorded classics and two new selections.
The advent of significantly better recording equipment would be enough in itself to justify the re-recording of some of these classic tracks--a venture further justified by the fact that frontman Michael Sweet's stirring vocals only seem to have grown stronger over the years.
Old school Stryper fans will enjoy a slightly updated take on classics such as "Free," "Soldiers Under Command," and "To Hell With the Devil." Rather than reinventing or altering the original songs, Stryper sticks to what they do best, keeping the songs infused with a solid dose of classic glam metal riffage soaring from the foundation of Robert Sweet's intricate drum work.
"First Love" breathes life back into the classic monster ballad sound of '80s rock, crafting a poignant call for those who have thrown God's love away to come back. The heart of each of the songs is laid bare in their unabashed presentation of gospel truths, choosing accessibility above complexity.
Classic track "The Rock that Makes Me Roll" make their mission just as clear now as it was at the song's release nearly three decades ago: "They say that rock and roll is strong, but God's the rock that makes us roll. Don't need no drugs to help us push on, we've got His power in our souls."
The first of the new tracks, "Bleeding From the Inside Out," makes it immediately clear that the musical style is going to stay true to the heart of Stryper both musically and thematically. The lyrics do bring a more mature perspective to the table, using slightly more poetic language to describe the state of a soul deeply needing redemption. Guitarist Oz Fox churns out a classic complex metal solo in the bridge, toning it down just enough to meet the slightly melancholy vibe of the song without losing any of the ferocity.
"Blackened" takes a similar approach, highlighting a desire to remain focused on God's light rather than being blackened by the heartaches and vices encountered in life. This song has a darker sound to match the imploring nature of the song's thrust, ending with some of Michael Sweet's signature soaring falsetto.
Closing Thoughts:
Although some may question Stryper's decision to stick to their roots instead of conforming to contemporary conventions, this collection certainly establishes relevance of a different kind. The first generation of Christian rock fans will enjoy these cleaned up releases of the songs that shaped an era of their faith journey, while younger listeners will be get a chance to connect to the forerunner of the Christian metal and hard rock genre.
The truths about the saving power of Christ and the work of redemption and sanctification are just as valuable and encouraging now, and it's probable that no other band has or will capture those truths with the same massive classic metal intensity that Stryper achieved. This is a worthwhile addition to the collection of any old school Stryper fan as well as any modern hard rock listener looking for something a little different.
Song to Download Now:
"Bleeding From the Inside Out" (Get it on iTunes here.)
Songs of Declaration: Kingdom's Kingdom | Posted March-12-2013
The worship tunes of Kingdom are the latest songs to grow naturally out of a group's service in their local church. In this case, the local church is Destiny Christian Church in Rocklin, Calif., and the tunes of Kingdom are a tasteful blending of contemporary styles and the hymns that form the familiar liturgy of the Western church.
The two opening selections, "At the Sound" and "Flood Song," both search to capture the broad scope of an arena worship sound made familiar by names such as Hillsong and Chris Tomlin. Heavy percussion and a focus on congregational vocals help achieve that sound as the words sung declare basic truths in response to the character of God. "He Is" follows in a similar musical vein, continuing to establish a trend of songs carefully crafted much more for congregational worship than commercial play.
"Nothing but the Blood" sees the band putting their own spin on a traditional hymn, choosing to recast it in a different key to give it a more sobering and haunting tone. Although revisiting old favorite hymns can be risky, Kingdom successfully adds their own voice through some heavy electronic interludes while still maintaining the integrity of the original. "God of Fire" is a stand-out moment on the album, featuring some beautifully solid pacing as it transitions between restrained verses and ethereal choruses (with a solid dubstep-influenced bridge in the middle).
"Salvation Song" introduces a more gentle acoustic sound for the first time, with lyrics that almost tremble in awe to complement it: "eternal King worthy of the throne came to me in skin and bones."
"Jesus Paid it All" is the second of the re-imagined hymns, this time keeping it closer to the original but with an updated sound for the contemporary Church. "No Other Name" is another song of declaration, announcing and establishing the reality that victory is found in our God alone.
"The Answer" is a simple song portraying God as the ultimate answer to this world's questions. "Victorious" is an appropriate track to end the main body of the album, focusing on Christ's victory in our lives on a personal level as well as His greatness on a universal scale. On these last two tracks the guitar work is particularly strong, notably in the dual guitar riff as "Victorious" builds. Although the band consists of only six members, they craft their instrumentation to create the full sound of a bigger ensemble.
The album features a few reworked bonus tracks, recreating songs such as "Flood Song" and "Nothing But the Blood" with a heavier electronic influence. These are good additions to the album for anyone who connects to the synthesized sound.
Closing Thoughts:
One of the strengths of this album lies in the fact that the group does not limit themselves to a single musical influence or style, choosing instead to blend a traditional arena worship sound with electronic influences and indie/acoustic interludes. The album displays solid musicianship and mixing throughout, although the band still seems to be in the process of solidifying their own identity as a worship ensemble. Many of the tracks are in essence songs of declaration, using language backed by Scripture and Church tradition to joyfully announce the identity of a holy, loving, saving God.
Over the past decade and a half, Hillsong has held steady as one of the most monumental names in contemporary worship. Whether released under the Hillsong Live or the Hillsong United branding, the music coming from Australia's Hillsong Church and its global satellites continues to make an incalculable impact in the worldwide Church. The latest ripple of that impact is Hillsong United's Zion, a richly textured release that manages to achieve an intimate, organic feel despite the band's massive international reach.
From the opening swell of the first track "Relentless," it's apparent that this is the collective's most heavily electronic album to date. In moments on tracks like "Nothing Like Your Love" and "Up In Arms," the carefully crafted instrumentation is almost reminiscent of the stronger elements of 80s synth rock. Musically, each song carries a strong sense of focus, which helps even the longer tracks like "Oceans (Where Feet May Fail)" and "Love Is War" drive deep throughout their duration.
Some of the songs still capture the massive arena feeling Hillsong has cultivated in the past, such as in the beautifully written "Love is War," which soars musically as it outlines the victory of Christ's love over both physical and spiritual death.
In addition to the dynamic and varied sonic techniques, this album brings some incredible lyrics to the table, established firmly in a sound reliance on scripture. At a time when it's all too easy to create catchy yet theologically shallow music for the church, Hillsong United instead dives deep while still creating a presentation accessible to Christ-followers at any point in their faith. "Scandal of Grace" explores the counter-intuitive, counter-cultural concept of grace, approaching the subject from a sense of overwhelmed awe. The vivid "A Million Suns" uses celestial imagery of sun and stars to capture God's eternal nature. "Oceans (Where Feet May Fail)" comes as a vulnerable prayer echoing an episode in the life of Christ's apostle Peter, asking God to take us into the deep waters where faith alone can sustain us: "You call me out upon the waters, the great unknown where feet may fail. And there I find You in the mystery, in oceans deep my faith will stand."
In each song, musical beauty is married to functionality, as in the rhythmic "Heartbeat" where the steady but subtle beat serves to reinforce the theme of a heart that "beats forever just to know You." Possibly the most instrumentally varied selection, "Tapestry," employs a variety of sounds as it weaves together many themes from the album in one song for God's people: "our lives a tapestry of grace Your hand has weaved together." The dedicated declarations of "Stay and Wait" are supported by the steadying swell of richer vocal tones. Some of the tracks strip away the electronic elements and rely on a traditional piano sound that tugs at memories of old hymns, such as in the reverent closing cut "King Of Heaven."
The deluxe version of the album offers two new tracks plus three re-imagined versions of songs found on the standard release. "Arise" is a beautiful selection leaning musically on a raw acoustic guitar tone as it calls to the world to "arise, for the kingdom has come." "Mountain" focuses on the concept of Christ as cornerstone, capturing the scriptural concept of Matthew 21:42 with the phrase "the stone the builders rejected, laid to ransom a fractured bride." Each of the re-imagined tracks ("Mercy Mercy," "Oceans (Where Feet May Fail)," and "Stay and Wait") provides an intriguing and more heavily electronic mixed alternative to the standard releases.
Closing Thoughts:
Although this album carries strong traces of the indie and electronic vibes widespread in the current music scene, it by no means loses musical excellence or spiritual intensity. Rather than a contrived attempt at relevance, Zion crafts a soundtrack for God's people that is in every note and word intentional and Heaven-bent. These songs should easily satisfy and encourage longtime Hillsong followers, and they also have the potential to draw in a new audience from segments of Christians who often struggle to connect with worship music. This album is certain to take its place as an important moment in the contemporary Church's conversations with God.
The conversion of iconic guitarist Brian "Head" Welch and his subsequent departure from the '90s hard rock act Korn has become one of the most powerful and widely retold testimonies of the past decade. The artist made musical waves again in 2008 when he released an experimental solo album to the Christian market, retaining the nu-metal angst vibe while crafting lyrics reflecting his journey from death to new life.
A year later he had gathered a group of strong musicians as touring support, and by 2012 the ensemble (featuring Michael Valentine on bass, JR Bareis on guitar and Dan Johnson on drums) was officially branded Love and Death and signed to Tooth & Nail records.
Between Here and Lost is Love and Death's highly-anticipated first release as a full band. With some hard-won experience, a full band at his back, and an exceptional writing and production team, Head's songwriting has the opportunity here to reach its full potential. The resulting album sounds much more established and confident than precursor Save Me From Myself, though without losing any of the raw power and scalding honesty that gave the solo release its strength.
Previously-released via YouTube, "The Abandoning" serves as a note of familiarity for a solid opening. The clean guitar tone backs frantic vocals reaching from a place of despair, begging God not to leave. The haunting chorus implores "Master, Master, save me / Master, Master, kill me / Don't give up on me now, ‘cause that's what I've already done."
"Whip It" (previously heard on the band's Chemicals EP) follows as a call to step outside of your head and the addictions that hold you trapped, with crushing guitars lending urgency to the lyrics.
"Watching the Bottom Fall" pulls heavily on Head's initial '90s nu-metal influences, with a chilling vibe that lends the song intensity. "By The Way..." uses a sharp, chopped guitar bed to introduce a deeply vulnerable song about a relationship in bitter disarray. The hard-edged verses are countered by the much more melodic chorus, regretfully declaring, "and by the way, I'm doing alright / You don't know what I had to give to walk away." The following selection, "Meltdown," begins with a quick spoken sound bite before a massive guitar riff sweeps in to carry the rest of the song.
Although the guitar work on the entire album is solid, "My Disaster" is perhaps the best example of Head's experience and skill in crafting an entire environment with guitars, realized now with the aid of Love and Death's lead guitarist JR Bareis. The buzzing rattle of the intro is later layered with rich, brutal riffs, buoying up Head's straightforward, in-your-face vocals. The song is a wounded reflection on feelings of betrayal and abandonment.
"I W8 4 U" may have a deceptively simplistic title, but the song itself is anything but forgettable. Mattie Montgomery of For Today lends his growls to complement Brian Head Welch's, creating the perfect storm of brutal vocals and crunchy guitars. "Fading Away" is a beautiful example of taking a traditional metal and hardcore theme and touching it with the perspective of the redeemed, exploring and establishing humanity's mortality but acknowledging eternity.
"Paralyzed" is another selection previously from the Chemicals EP. The song (which was a collaboration with Jasen Rauch, formerly of RED) explores the way sin paralyzes while recognizing the need for a rescuer. This selection showcases industrial elements more strongly than the other tracks. "Chemicals" also explores the corroding nature of our vices, employing drug-oriented imagery to express themes of addiction. Given Head's history before the transformation that came when He chose to surrender to Christ, he has certainly earned the credibility to sing vulnerably about a love/hate struggle with sin.
"Bruises" wraps the album up on a mellow, stripped down note, carrying a '90s industrial tone. This track could be the result when the fury of the preceding selections has burned out, leaving only the painstaking, half-whispered plea of the chorus: "Show us how to live / How do we forgive through the bitterness? How do we get there? Show us how to die, how to give our lives, living sacrifice." It is the perfect note of surrender and admission of need to end the collection.
Closing Thoughts:
The fusion of Brian Head Welch's well-established roots with the contemporary savvy of his supporting band creates one of the most solid rock albums to be released in the past few years. Unashamedly heavy without feeling bombastic, this is an album for post-grunge rock fans who want songs that burn with undeniable raw honesty while throwing off sparks of hope. This is an album of songs that reach for God from the dark, admitting vices while acknowledging the reality of a cure. This may be the first full release from the Love and Death ensemble, but it is not lacking in depth or experience. Hopefully this will be only the first of many rock solid releases from the band.
It's been nearly three years since we had some new material from Sanctus Real. After lead singer Matt Hammitt took time to focus on a solo project inspired by experiences with his third child, Bowen, he has some new songs to sing reflecting the turmoil and grace experienced since their last release.
Fans won over to Sanctus Real by the more pop-oriented selections from 2010's Pieces of a Real Heart will immediately connect to the gentler sound of Run. The opening title track ("Run") is a simple, well-spoken reminder to "run into the arms of love." This selection sets the tone for an album that takes simple truths and presents them with a clear perspective tempered by grace. "On Our Own" employs a slightly lonely, vulnerable melody to carry the message of our inability to make it through life without the support of others.
The lead single, "Promises," is a catchy but comforting call to hold to the promises given by God in the Bible. The refrain could easily be an anthem for the church in the midst of uncertain world events: "Jesus is alive so hold tight / hold on to the promises."
"Pray" is a soft but dynamic song imploring God to meet the singer even when he has no more words to say. "We Will Never Give Up" is a dose of encouragement in the same musical vein as past hit "Forgiven," though this song's scope is wider and more anthemic. "Nothing Between" is the first selection with a more energetic rock vibe reminiscent of older albums The Face of Love and We Need Each Other. The lyrics focus on trust in the dark paths, beautifully culminating in the declaration, "I want nothing between my soul and my Savior."
"Commitment" thematically complements past single "Lead Me." The honest track highlights essential elements of a marriage that endures, rooted in God's grace and faithfulness. "Keep Me Young" explores the idea of our eternal God being the true "fountain of youth," providing us with eternal life. "One of Those Things" is an upbeat, hopeful song about the way God is relentless in reaching our hearts.
An almost classic rock styled cadence carried by hearty guitar riffs gives "Better Than This" a feel-good vibe that would be perfect for the live show setting. "Picture of Grace" slows the tone down again, taking a more narrative approach to the lyrics. Gentle instrumentation backs a beautiful picture of a husband and wife united in their acceptance of grace. "You Are God" closes the standard release of the album on a worshipful note, acknowledging God's holiness and sovereignty without sacrificing a sense of personal interaction with Him.
The bonus tracks provide a mix of themes, ranging from the whimsical "One More Show" (reminiscing about days touring in a rundown van) to the lovely piano ballad "Sanctuary" (which creates the title's peace and stillness in musical form). "Love You Tightly" is a wistful but tender song from a dad to his children, focusing on the need to "love you tightly but hold you loosely, ‘cause you were never mine." "That's Life" is an intensely honest song about life's contrast, the joy and the struggle.
Closing Thoughts:
Run is an intensely hopeful album that captures joy in musical form without oversimplifying the truths it presents. Matt Hammitt's gentle but soaring vocals are stronger than ever, carrying the songs over the more pop-oriented guitar beds laid down by guitarists Chris Rohman and Pete Prevost. This album is diverse enough to stay interesting through the 12-track standard length, but still musically grounded and cohesive. The songs shine as gentle reminders of hope in a hurting world, with every layer of each song saturated by grace.
Jesus Culture Live from New York:Songs from the Revival | Posted November-15-2012
Jesus Culture is a movement that grew out of Bethel Church in northern California. What began as a yearly conference became a worship revolution that spread throughout the country, eventually making its way to England and Australia. Now in addition to yearly events that draw people from all over the world to major cities such as Chicago, Dallas, and Atlanta, Jesus Culture has released multiple albums comprised of both original worship songs and covers of classics.
The latest from the worship collective led by Kim Walker-Smith and Chris Quilala is Live From New York, a collection from a conference in New York featuring Martin Smith (formerly of cornerstone worship band Delirious?). This album gathers 18 highlight performances, primarily more recent songs, but also featuring some renditions of older songs, notably “Did You Feel the Mountains Tremble” in honor of Martin Smith’s Delirious? days.
Jesus Culture’s music is marked by a deep passion for knowing Christ and making Him known in this generation. This passion lends an element of raw honesty to their music that establishes their integrity as voices in worship arenas across the world. That quality of their music propels all the tracks on the New York session, but particularly moments such as “Our God Reigns,” “Set a Fire,” and “I Belong to You.” These songs have a musical sound massive enough to fill an arena coupled with a deep desire to know more of who God is.
The slower, more mellow moments on the album are equally strong and heartfelt. “Song of Solomon” is a song sung to the God who leads us through the valleys and the darkest nights, entreating Him to “hold me ‘til it’s light.”“Walk With Me” has a similar theme, led by the rich, passionate vocals of Kim Walker-Smith.
Throughout the collection, the energy levels are maintained without faltering--even when tempered by reverence as in “Alleluia.” Often,Chris Quilala steps away from the mic and allows the crowd to carry the melody of the moment, while at other times he directs the room to a pause for reflection and prayer, deepening the awareness of God’s presence. This allows the songs to progress organically while the set is led more by the Spirit than by pre-determined guidelines.
Some of the songs are deeply personal, intimate exchanges between creation and Creator, such as “I Am in Love With You” and “Pursuit.” The audience’s continued response is evidence of the way that Jesus Culture’s music has resonated deeply with this generation in their pursuit of and response to God.
In every track on the album, from the opening revival-seeking “Fire Never Sleeps” to the closing “I Belong to You” which seeks to take hold of our identity in light of God’s character, a deep desire to pursue God and to be immersed in and to reflect His glory swells as an ever-present undercurrent. It is that longing for God’s anointing which empowers and energizes every element of these songs.
Closing Thoughts
Jesus Culture continues to hold their place as an important voice in contemporary worship music with this collection. Live From New York is an experience, an album inviting the listener into the room with the band and the audience as they have a corporate conversation with God. The experience is well-crafted through a masterful mix of crowd vocals, the gifted worship leaders, and moments of reflection. Although it does not bring much fresh material to the table musically, this is an album worth listening to for those seeking passionate pursuit of God and a deeper connection to His people in the community that is the Church.
Bringing Back the Groove | Posted November-05-2012
If you were a Christian music fan in the '90s or early 2000s, it was hard to miss the Orange County Supertones. When secular musicians had a monopoly on the ska market, the Supertones were one of the cornerstone bands paving the way for Christian ska. The ministry-minded band took the market by storm with their 1997 sophomore release Supertones Strike Back, supported by the then-brand new label Tooth and Nail Records.
After a solid run impacting audiences nationwide for Christ, the band members went their separate ways in 2005. With similar splits occurring in the other major Christian ska bands of the era, it seemed like ska was more or less dead. But 2010 saw a reunion of the O.C. Supertones to play just a few more shows. A few became 10, which became a few more in 2011. The year 2012 saw the Supertones joining several other ska colleagues in announcing a plunge back into the studio to revisit their music and their mission.
For the Glory is an effort supported by the fans, which seems only fitting. The resurrection of ska could provide the temptation to just recycle old grooves, but the Supertones didn't cut corners on their return album.
From the energetic opener, "All the Way Alive," it's clear that the band is drawing out the best of their old influences while updating it with a sleeker production quality for contemporary audiences. The title track sets the mission statement of the album, solidifying the mission of the band from the beginning: every element of the Supertones' songs and ministry is focused on giving the glory back to God.
"Hey Hey Hey" is a classic ska track, leaning on a steady, repetitive rhythm and the trombone and trumpetofferings of Nathan Spencer and Darren Mettler. "Far More Beautiful" is more chill in its instrumentation, though the vocal stylings of lead singer Mojo Morginsky ground it solidly in the ska sound. The song is addressed to girls, seeking to establish their worth in the right place as the chorus declares, "you're beautiful, far more beautiful than anything the world will ever know / Keep your eyes on the King, cherish all of your tomorrows."
"All Glory" is performed like a hymn, lifting an unashamed declaration of praise to God backed by the celebratory tones of the horn section. "It's A Good Day to Be From California" is distinctly autobiographical, lending a playful West Coast vibe to the band's nostalgia. This song provides an opportunity for the Supertones' Orange County roots to shine.
"Warmth of the Sun" has a slightly different tone, fitting for its theme of waking to sunshine after a long winter of the soul. Here the acoustic work of guitarists Jesse Craig and Josh Auer is drawn to the surface, creating a more mellow ballad sound. "On the Downbeat" immediately counters it with a darker groove sustained by bassist Toneman Terusa and drummer Jason Carson. This sound has a classic-sounding ska rhythm with a bit of a bite to it, providing a different take on the feel-good vibe of most of the album.
The battle anthem "Fight On" uses the analogy of being captives in Babylon to stress the necessity to fight for truth during the dark nights of our world. "Pretty Little Lie," a track talking about the dangerous allure of sin, draws on some of the Supertones' skill with a more clean-cut rock and roll sound, laying down some blistering guitar riffs in the intro and chorus. "The Wise and the Fool" wraps up the album on a note as upbeat as the album's beginning, showcasing the band's solid theological background born of years of ministry.
Closing Thoughts:
Although a more contemporary production style is definitely evident throughout the project, this is still the Supertones as you remember them: loud, infectiously joyful, and completely in love with Christ. This is an album that could brighten just about any day with its upbeat, worship-focused heart and celebratory horn-supported sound. Old fans of the O.C. Supertones should be more than satisfied, and this is a release that could easily draw in a new generation of fans as well.
MaryNikkel_NRT's Music and Book Reviews 
