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...
For a band that has held their own in the Christian hard rock arena for nearly two decades, the temptation might be to settle into the well-worn path forged by albums past. With 2010's Horseshoes and Handgrenades, Disciple proved that they had no intention of taking the easy way out. Two years later, while the singles "Dear X (You Don't Own Me)" and "Invisible" are still garnering significant radio play, the band is back with a fresh set of tunes that draws heavily on both old roots and more recent conventions to create the bleakly titled opus O God Save Us All.
The album kicks in with "Outlaws," a blistering anthem for the abused and forgotten. The feel-good rock-and-roll vibe sets this song up perfectly for fist-pumping crowd participation. The title track ("O God Save Us All") follows, serving up solid hard rock grit from the moment front man Kevin Young spits the opening lines: "I've had a bad three days coming off of a bad three years." Longtime fans might catch faint hints of stylistic elements from older albums such as Back Again and By God in the frantic, scratched backing vocals.
"RIP" shakes the solid guitar work of Micah Sannan and Andrew Welch to the surface with some crunchy riffs supporting lyrics celebrating surrender to new life in Christ as we leave our past lives behind.
"Once And For All" slows the pace down, fading in on a steady swell of strings and a layer of choral-style backing vocals. The more accessible sound of this cut provides the potential for a future radio single, as does the deeply cathartic chorus's cry, "Now I stand face to face with the light of Your grace / and the weight of all my shame begins to fall once and for all."
"Someday" follows in a similar vein musically, although it takes a slightly more upbeat lyrical direction. The strong central melody directs the listener towards a future beyond the shadowlands we live in, looking through the lens of hope provided by Christ. The album version of the record's lead single, "Draw The Line," lands in the middle of the collection. The track is an earnest, deeply honest conversation between an aching heart and God, crying for the change that can only come through surrender.
After several more mellow tunes in a row, "Kings" crashes in with a driving beat framing the scorching guitar hook. "Unstoppable" is another crushing rock track, highlighting solid drum fills from drummer Trent Reiff and signature scalding screams from Kevin Young. The song is a fight song, a challenge declaring, "One by one they will fall / and there's nothing they can do about it / You're unstoppable."
The well-balanced musical arranging is matched by equally seamless songwriting. Many of the selections offer the strongest writing we've ever heard from the band, a trend exemplified on "The One." The tight anthem hammers out the words, "you won't ever face this fight alone / we bleed one for all / we bleed all for one." The refrain leans heavily on the momentum of forceful gang vocals.
"Beautiful Scars" could be a sequel to past Disciple songs "After the World" and "Invisible." This is an earnest anthem for the children of God ransomed from their vices, an infusion of encouragement for the ones coming out of a struggle: "We were the bruised, we were the broken / We don't live in pieces anymore." The album closer, "Trade a Moment," breaks some new ground for the band, introducing female backing vocals and maintaining an unusually chill tone. The gentle love song is a ballad that will ring true for those who have endured long separations from their loved ones. The mellow chorus wraps up with the vulnerable declaration "of all the things in my life that I could rewrite, I wouldn't trade a moment with you."
Closing Thoughts:
O God Save Us All is a dynamic collection of hard rock hymns, showcasing Disciple's ability to create both raw anthems and symphonic ballads. As the title would imply, it is an album for the fight, a collection of songs for the wanderers seeking to step more fully into the new identity of hope defined by Jesus. This is a project well worth picking up for both dedicated Disciple listeners and rock fans looking for a solid hard rock record that hasn't been watered down. The album offers enough of the familiarity of the band's past style to satisfy dedicated listeners while refusing to settle for status quo, pushing on instead to craft fresh intricate riffs and vibrant lyrics that make this album stand distinct.
Lincoln Brewster is known for being one of the most musically skilled figures in the worship genre. His ability with a wide range of instruments has equipped him to create rich, layered songs grounded in his faith.
Taking on classic Christmas songs and seeking to create something fresh enough to hold an audience's interest is no easy task, but it's one that Brewster tackled armed with enough skill and experience to infuse new life into well-tread tracks.
Joy to the World kicks off with its title track, an infectiously upbeat rendition of the Christmas classic. "Little Drummer Boy" follows, and although the track is certainly centered around a driving rhythm (enhanced by a rap interlude provided by KJ-52), it manages to do so without feeling overly contrived. Despite the title, the track branches out to lean on an instrumentation scope much wider than just percussion.
"Hark! The Herald Angels Sing" is another incredibly joyful track. Although elements like sleigh bells are present, Lincoln Brewster doesn't use Christmas conventions as a crutch, allowing his skill on a wide variety of other instruments to shine as well in the arrangements. "Shout For Joy" carries a more traditional worship sound, employing a sweeping sonic landscape richly detailed with shimmering lyrics.
Although some would find Chris Tomlin's monster hit "Our God" to be an unusual addition to a Christmas collection, Brewster makes the cut fit well with overall theme of unrestrained joy. He even throws a bit of the Christmas classic "O Come All Ye Faithful" into the mix to draw it in line with the rest of the album.
"Miraculum" is an instrumental selection that easily holds its own with the vocal tracks. Here Lincoln Brewster's ability to give an electric guitar a passionate, almost reverent voice shines, his work on the guitar strings binding together the other elements for a hauntingly beautiful whole. The breathtaking guitar work voices the melody of "God Rest Ye Merry Gentlemen," backed by intense instrumental layers worthy of Trans-Siberian Orchestra.
His rendition of "Oh Come Oh Come Emmanuel" follows the same musical tone, though more restrained and leaning more heavily on steady percussion. The haunting song voices the cry of a broken people awaiting their Redeemer. "Do You Hear What I Hear" re-introduces the unashamed celebratory theme of the earlier tracks.
"O Holy Night (Another Hallelujah)" is a slower paced song, which is well suited to the melody. Lincoln Brewster does a solid job adapting the almost operatic style of the tune to the adult contemporary format. His addition of a piece of Leonard Cohen's famous "Hallelujah" is achieved with enough subtlety to work. The collection ends on a gentle note with "Silent Night." The guitar work here is understated, almost jazz-inspired, beneath the soft vocals
Closing Thoughts:
As the holiday season approaches, this is one album well worth picking up to set the tone. Although the album draws wholly on already established songs, it does so with a lack of pretension and an enthusiastic tone which sinks into each selection. Brewster's musical skill with both his guitar and his voice is nearly unparalleled, and his thoughtful blend of celebration and reverence make this record well worth many spins throughout the winter months.
The Wedding: Reclaiming Rock and Roll | Posted September-24-2012
After a stint as an independent band, some lineup changes, and plenty of touring, The Wedding is back--and refusing to be ignored.
No Direction is the 5-piece rock outfit's first album release since signing with Tooth & Nail Records. The eclectic blend of sounds and styles from the past two albums is still present, drawing heavily on the band's Arkansas roots as well as some more unlikely elements (it's not often that a hard rock band boasts a track titled in Latin).
The album opens with the infectiously catchy title track, a rock cut with enough of a pop vibe that it could easily hold its own in radio play. The song introduces the theme of seeking for life direction in a world constantly sending mixed messages. "In The End" leans on the adrenaline-laced scorching style of southern rock and roll, exploring the way humanity pursues the wrong things, and where it lands us: "we get what we want in the end, the blood is on our hands."
"The Lesser Worth" declares the lack of satisfaction found in the things the world tries to sell us. The song features a beautiful breakdown and dual-guitar build up in the bridge, backing the band's edgy, intense lyrics with musical precision. "The Raconteur" is a rowdy adventure song, showcasing Matt Shelton's strong, raucous vocals.
"Hang On Love" is the first in a set of more weighty selections. The introduction here pays tribute to punk bands of a decade ago, notably through the way Cody Drigger's rich bass work lays the foundation for the rest of the song. This is a song of encouragement, declaring: "If you're tired, love, rest your head. If you're lonely, dear, I'll be a friend."
Although the band can clearly pull off the scalding guitar riffs and in-your-face vocals with a solid mastery that has been rare in recent years, they also have mastered a vulnerable side. "The Wildest Ocean" and "Mors Tua Nos Vita" demonstrate the band's softer side beautifully. "The Wildest Ocean" is a fragile plea for hope in the face of the storm. The lyrics soften along with the musical tone, speaking in a more poetic voice. "Mors Tua Nos Vita" is a hymn-like selection, building up to crescendo over raw acoustic guitar.
"Kill Any Excuse" kicks back in with a driving arena-rock sound. The track skillfully achieves the balance between a feel-good vibe and lyrics with depth. "Heartbreak in Melody" is a more edgy track exploring the way melody can become like an emotional drug. Here the gritty, driving guitar work of guitarists Trevor Sarver and Adam Thron shines.
"Don't Let Me Down" traces a conversation in a relationship trying to hold itself together through honesty. This is one of the more widely accessible tracks on the record, pulling again on more of a pop-styled influence. "Young and Dangerous" is essentially an anthem for the social rejects and underdogs who tend to gather on the floor at rock shows, nostalgic somehow despite the no-holds-barred musical approach. "Distance and Resolution" is the album's conclusion, seeking to close the gap between man and God, looking to Him as the only possible direction. They blend some beautiful soaring choral vocals towards the end, adding to the haunting tone of the closing track.
Closing Thoughts:
The Wedding has broken their silence in the best way possible. The songs are honest, raw anthems for the seeker of truth, flavored with refreshing intentionality and some classic raucous rock and roll. The band explores some of the questions and struggles that arise in a directionless society while still pointing towards the hope found beyond our broken reality, balancing the heavy themes with the light. Christian hard rock continues to be a precarious place to stand, but The Wedding seems to balance there fearlessly.
Wait for the Siren: A Call to Arms | Posted September-17-2012
Project 86 has made a name for themselves by sweating it out on stages in underground venues around the country, walking the hard road of Christian hardcore. Their work and tireless dedication to their craft earned them a solid fanbase--a fanbase that served as the jumping off point for creating a fan-funded independent record.
Early this year, Project 86 joined the ranks of bands launching kickstarter campaigns, inviting fans to back the upcoming record financially in return for various rewards. The band easily met, surpassed, and then doubled their goal, enabling Project 86 frontman and mastermind Andrew Schwab to assemble a strong team for completing the album. If fans doubted that Project 86 could top their well-received 2009 album Picket Fence Cartel, the August release of Wait For the Siren is definitely cause to reconsider.
The album kicks in with the crunchy battlefield anthem "Fall Goliath Fall," a track some fans may recognize from this year's live shows. One of the most distinctive and unique elements is the hammered dulcimer used throughout the song. The clear dulcimer tone nicely balances the gritty guitar riffs and gang vocals. The song is a good introduction to themes present throughout the album, speaking from the voice of an underdog rising up against a greater foe.
Bruce Fitzhugh of Living Sacrifice lends his vocals to "SOTS," a track thick with signature Project 86 growls and distortion. "SOTS" follows thematically from "Fall Goliath Fall," playing on the David and Goliath theme. "Omerta's Sons" features a deep-toned bell as part of the percussion. "Out from your shadow now we are immortal, from bound and broken to invincible," the song declares, forming an anthem for those who choose to stand up against corrupted powers and authorities.
One of the most widely accessible songs on the album is "Off the Grid," offering an incredibly catchy hook that fixes the song in the listener's memory. "New Transmission" introduces a slightly different vibe, drawing on hauntingly poetic lyrics and a restrained, mellow style in the verses. Andrew Schwab's vocals drift through the thick guitars in the chorus: "searching the stars for answers, never to come back down."
"The Crossfire Gambit" hits hard again, drawing on guest vocals by iconic singer and guitarist Brian "Head" Welch. This song is one of the hardest on the album, vocals screamed raw over frantic guitar. "Blood Moon" slows the pace significantly, providing a thoughtful and chilling interlude. Here Andrew Schwab's abilities as a writer are brought to the fore. The eerie tone is set in the first lines of the song: "Starts with a steady rhythm under a violent sky--pounding of a foreign heartbeat preparing to arrive."
"Defector" also carries a slower, aching tone as it expresses a longing for more than what is being offered in this world. "Ghosts of Easter Rising" pulls the pace back up, constructing a sweeping sonic landscape with a Celtic sound supported by uilleann pipes (essentially the Irish version of bagpipes) layered with the strong guitar foundation. This is another battle anthem, drawing on a sense of justice and upholding a legacy of fighters past.
"Above the Desert Sea" is another poetic track lyrically, though the instrumentation and guitar tone is post-hardcore brutality at its finest. The themes of purification and loyalty are equally intense. "Avalantia" features sharp, clean guitar framing the vivid narrative.
Although the album is unusually long at 13 tracks, quality is certainly not sacrificed in any way as the collection draws to a close. "Take the Hill" blends elements of the haunting and eerie with heavy percussion as it calls out a culture teaching deception. The hammered dulcimer makes an appearance again here, adding another dimension to the already dynamic track. Outro track "Wait for the Siren" is the only instrumental selection, closing out the album and fading into static.
Closing Thoughts:
This project is an antidote to apathy. The lyrics are vivid, intense but intelligent, poetic and almost literary in nature. The album is unashamedly heavy and richly layered, but without being complex to the point of proving exhausting for the listener. Everything from the militant percussion to the Celtic-flavored instrument choices and warlike vocals serve as a call to arms for truth seekers in a deceived and broken society. Central Project 86 figure Andrew Schwab has crafted an epic in the true sense of the word, surrounding himself with skilled musicians to breathe life into his opus (in addition to previously listed guests, the album features work by Rocky Gray of Evanescence, Andrew Welch of Disciple, Blake Martin of A Plea For Purging, Cody Driggers of The Wedding, and new Project 86 member Dustin Lowry, previously of The Becoming). This release promises to stand the test of time as a monument in the hardcore field.
Worship music has been gaining a new voice recently in a younger generation of artists passionate to use their love for raw, intensely artistic music to frame songs of response to God. Will Retherford is one of the latest artists to add his voice to the indie worship field with his album, Walk.
As a staff member and worship leader at Oral Roberts University, Retherford has a unique opportunity to create music that puts a finger on the pulse of the movement in a new generation of believers— and if this is any indication of the direction things are going, the future is bright indeed.
The album starts out with the optimistic "Arise," setting the tone with a chill coffee shop musical vibe balanced with solid, theologically rich lyrics. "Seasons" pulls a layer of female backing vocals to the forefront, solidly landing this album in some of the same musical territory as Gungor and All Sons & Daughters, though with a stronger synthesizer presence and a unique lyrical voice.
"He is Here" and "At the Cross" continue in the same joyful vein, proclaiming the character and goodness of God. "At the Cross" declares: "I am not ashamed of the choice I've made to receive the hope You gave-- I am now a sinner changed."
The tone of the album takes a turn halfway through with "Rescue Us," beginning with almost a groan over the keyboard— "oh, have mercy on us." This is a modern-day Psalm, rubbed raw with honesty, structured as a beautifully haunting prayer from a place of aching. "Out of the Mire and Mud" follows, an instrumental offering continuing in the same contemplative voice.
Title track "Walk" responds to the previous two tracks and sums up the message of the rest of the album in beautifully poetic phrases: "If there's a crack in your heart, then let in the sunlight. If there's a spark in your restless eyes and the rush of your apprehensions feels more like desire— walk into the light, see yourself come alive."
"Narrow" draws on a bit of a folk-inspired rhythm. By this point in the album a fairly complete picture of the artist's work has been provided, but each track is still engaging. "Holy" offers a refreshingly reverent tone, while "Let it Come" is intricate, layered, and lyrically sound: "This is the greatest wish of my heart: that chaos would calm as You walk, that destruction would hold its tide..."
"Run Your Way" wraps up the album in a sweeping track calling for a dedicated pursuit of God. The track builds towards its end, drawing on a more corporate worship sound as it closes.
Closing Thoughts:
Will Retherford offers a thoughtful and rich contribution to our modern day Psalms. In a market already saturated with worship projects, his richly textured songs and expression of theological concepts in fresh, honest words give this album the momentum to hold its own.
Recent Integrity Music signees Brothers McClurg are seeking to spark a revival, and their album of rich modern-day hymns might be a good start.
The group (named for founding brothers Anthony and Christopher Hoisington) draws on a layered, folk-influenced sound to frame its anthems of hope and renewal. The dynamic album, Join in the Sound, swings through softer, more meditative tracks and tracks with a much broader scope that could easily be drawn on in a corporate worship setting.
The album begins with a track featuring the sounds of the band tuning, a beginning that draws the listener into a setting that feels almost like they are seated in front of the band, watching them as they begin to play. Opening selection “Join in the Sound” further enforces that feeling, with an invitation to sing.
Although the album is intensely hopeful, it also captures some of the lows of life in tracks such as “You Shine Through” (which beautifully explores the way God shines brightest in our brokenness) and “From Every Wind That Blows.” The group employs language that is strongly reminiscent of old hymns while still being easily accessible to a contemporary audience: “There is a calm, there is a sure retreat / ‘tis found beneath the mercy seat.”
From the first track through the last, one of the strongest elements that makes these songs sound out is the incredibly rich vocals. The brothers’ vocals are layered and vibrant without losing a refreshing earnest quality to keep the focus on the heart of the songs. The band is unafraid of experimenting musically in their instrumentation as well. (“Come to the Fount” features a saxophone, and “Lean Not” plays with a hinted country vibe.)
The album is unusually long at 14 tracks, and provides a full hour of music, but each track is strong enough to carry the momentum through to the end. The final track, “Just Say,” is a more intimate worship song, speaking from a more personal place: “I will lay me down here at Your feet. Save me from myself and calm the raging sea. You will be my ark that floats me up above the storm. Just say, just say the word, I’ll be made whole.”
Closing Thoughts:
The Brothers McClurg have effectively created a project with all the reverence of hymns and all the everyday relevance of contemporary worship. The songs are framed by strong, smooth vocals, mellow guitar work, and songwriting that is powerful in its simplicity. From the quiet personal tracks and the soaring corporate anthems, the album builds an environment for meeting with and looking towards God, the source of hope.
The Soft Side of Hardcore: Elephant in the Room EP | Posted September-04-2012
These Hearts continues to cement their place as one of the hardest working new bands both on the road and in the studio. A little over a year after their July 2011 debut Forever Ended Yesterday, the self-proclaimed “popcore” quintet is back with their Elephant in the Room EP.
The creative blend of hardcore and metal twisted with some pop elements that the band concocted for their debut album is refined on the EP’s first track, “The Inconvenience.” The song mourns a life set to self-destruct, building around vocalist Ryan Saunder’s aggressive screams asking “how does it feel to play God for a day?” The clean vocals on the chorus are clear-cut and piercing.
A remade version of the band’s song “Denial Isn’t Just a River in Egypt” is featured next. This is the version used for the band’s recent music video, and although it does not stray too far from the version on Forever Ended Yesterday, the update improves on an already strong track. The song also draws out the EP’s title: “don’t speak too soon, there’s an elephant in the room,” the chorus warns.
The last three tracks on the EP are acoustic, but by no means weaker. These Hearts deftly demonstrates that sometimes the hardest bands can create the most effective soft tracks. The acoustic version of “Denial Isn’t Just a River in Egypt” draws the attention to the vocals and thus the core of the lyrics.
“Live to the Point of Tears” is another previous song that gets the acoustic treatment. The song is a lament in the wake of a loved one’s death, and the lyrics benefit greatly from the slower, stripped down format. The final selection is an original acoustic track, “His Angel Back.” A rich, raw acoustic guitar backs a song that narrates the journey of a friend walking with someone suffering from cancer, honestly asking the question “what do you say when ‘it’s going to be OK’ is a lie?” The song is haunting without being emotionally overbearing, and it addresses a hard subject gently and gracefully.
Closing Thoughts
This EP is a strong example of the way These Hearts is growing as they continue to pioneer the mostly untread ground of Christian hardcore. The evidence of their work ethic and dedication to bringing solid rock backed with truth is clear on each track. The hard tracks draw on their strong rock roots while the more introspective acoustic tracks are refreshingly heartfelt. This EP is well worth picking up for anyone who wants to hear a fresh voice on the field of rock and hardcore.
A few years ago, an independent electronic worship band called An Epic, No Less produced a short but solid album. Their independent release spread through what was at first a relatively small underground group of fans, but over the next two years their music would gain momentum— and the attention of label executives at Tooth & Nail/BEC Recordings. This summer brings us the electronic worship group's label debut, Echo of Love, featuring updated versions of past independent songs as well as several new tracks.
The project begins with the bright, cheerful track "We Need You." Although this song (and the whole album) aims in the direction of worship throughout, it does so without leaning too much on cliches or common Church phrases. "If You're hope for the broken, we are shattered glass," this opening track proclaims, establishing from the first chorus the band's ability to employ vivid visuals. This is a skill demonstrated even more fully on the title track. "Echo of Love" is a beautifully balanced blend of electronic and worship elements, supporting shimmering vocals singing "I hear an echo of love—we are the echo of love. I feel an echo of love—we are the echo of love."
The smooth vocals, heavy use of keyboards and synth patches, and innocent vibe is almost reminiscent of Owl City at times, with slightly less obscure lyrics and imagery. Many of the songs play like a sonic representation of light, such as stand-out track "Mercy Light." This worship song declares "You're the sparks at dawn, what I'm waiting on." The mood of the musical landscape perfectly matches the scene in the lyrics.
Some more gentle, poignant tracks balance out the overall cheerful radiance of the majority of the selections. "Come to the Cross" is a call to the comfort of Christ's sacrifice. This song could easily be found in a church setting as well as connecting on an individual level with beautifully crafted statements like "He didn't lose His life--He gave it away for you." Similarly, the mellow "Rescue Me" is an honest cry from a dark place for the Rescuer.
One of the strongest moments of the album comes at the very end with "Your Love is Louder." For the first time on the album, female vocals take the lead in a restrained, piano-driven moment of worship. It is the perfect finish: "Your love is louder than the ocean, Your love is louder than the storm."
Closing Thoughts:
This fresh, vibrant album promises to be one of the strongest worship albums of the year. An Epic, No Less crafts a beautiful soundscape of keyboards, vocals, and poetic lyrics to create a rich and layered sound that is instantly memorable. Echo of Love breathes a refreshing creativity and vibrancy into themes of God's love and His peoples' response.
On Fire: P.O.D.'s Murdered Love | Posted July-10-2012
Two decades ago, an innovative reggae-influenced rapcore band titled P.O.D. (which stands for Payable On Death) exploded out of San Diego California. Their hard work throughout the 90s steadily built up a reputation and a fanbase that would serve as a good foundation when Satellite hit the charts in 2001. The triple-platinum record secured P.O.D. a well deserved place in the nu-metal era with songs like "Alive," "Boom," and "Youth of the Nation." After several more strong albums, Grammy nominations, and a constantly growing fan base, the band took a break. 2008's When Angels and Serpents Dance was the last we heard from them for a while... until now. Murdered Love marks 20 years since P.O.D. first took the stage.
The album begins with the razor edged "Eyez." This is one of several songs on the album that focuses on coming glory and seeing beyond this life (the almost worship-oriented "Higher" is another song on this same theme). The crunchy, almost choppy delivery of the title track "Murdered Love" fits the subject matter perfectly as the song explores stories of loving people who were murdered. This is one of the songs on the album reminiscent of old school Linkin Park, offering a bracing dose of harsh aggression unusual on recent rock releases.
"Lost in Forever" was the album's lead single, and with good reason. Grungy guitar riffs back up lead singer Sonny Sandoval's vocals as the aching lyrics climb through a perfect fusion of melody and rap. "West Coast Rock Steady" lightens the mood a bit with a throw back to the band's hip-hop California roots in a party song flavored with a dose of 90s alternative.
One of the most widely accessible songs on the album is "Beautiful," exploring some of the same themes as P.O.D.'s song "Youth of the Nation" from ten years ago. The gentle, almost soothing song explores the story of an abused, addicted young person who is waiting to die. The song takes an unusually tender tone as it declares "you're beautiful to me."
The reggae vibe pushes its way to the surface on the dark track "Babylon the Murderer." An in-your-face selection follows with the anthemic "On Fire," a blistering battle cry for the band. The following skater kid love song "Bad Boy" is a testimony to the album's diversity, holding down the reggae influence while drawing on some serious musical attitude.
"Panic and Run" carries on with a fast-paced punk sound. Here Sandoval proves again that his vocals are still strong after 20 years of use as Marcos Curiel displays some beautifully distorted guitar tones. This track is also one of many that shows the band's skill with unusual timing and pacing that captures and holds the listener's attention.
One of the most interesting selections on the album is closing track "I Am." With its brutally honest description of the human soul, the song will be hard for many listeners to swallow. Sonny Sandoval spits the words with a distinctive venom, speaking from the viewpoint of a kind of everyman sinner figure wondering who on Earth this Jesus is and whether or not He is really able to save us. Many listeners will trip over some of the mature word choices (P.O.D. glosses over some of the stronger language, though it's still definitely audible), but it's a part of the band's chillingly successful effort to paint a picture of a broken, searching soul. Some might find it odd to end an album on such a bleak note, but perhaps a question is the perfect place to end this project: "Are You the One who's come to set me free? Cause if You knew who I am, would You really want to die for me?"
Closing Thoughts:
P.O.D. offers up a comeback that sounds like they haven't heard that rock and roll is supposed to be dead, and the result is a refreshingly edgy and delightfully aggressive rock album. Four years off the scene would have provided an easy open door for the band to reinvent themselves with a sound that would parallel recent releases in their genre, but P.O.D. doesn't take the easy way out. The album will definitely be instantly recognizable to old fans from Satellite and even When Angels and Serpents Dance days, though it is far from being simply a retread of old ground. Murdered Love builds countless layers both musically and lyrically on the basic 90s nu-metal voice that they have utilized so effectively in the past. With the blend of theologically heavy and more feel-good tracks, this album will appeal to a wide audience and to a fanbase new and old.
Journeying Beneath the Scars | Posted June-11-2012 Rock fans from the post-grunge era 10 years ago might remember that 12 Stones became one of the talked about names on the scene at the time. Their popularity grew through the release of three studio albums, boasting singles such as "The Way I Feel" and "Lie to Me."
After 2007's Anthem for the Underdog, the voice of 12 Stones faded into silence for a while. 2010 saw the release of an EP with the promise of a new album to come, but two more years passed until the much-awaited release of an album five years in the making.
For any fan of 12 Stones or of solid alternative rock in general, Beneath the Scars is well worth the wait. Charting in at a full 14 tracks and just over 50 minutes, this album is significantly longer than the majority of recent rock releases, but 12 Stones manages to keep the album fresh throughout so it never feels too long.
The album kicks off with one of the singles, "Infected." This song, as well as the lead single "Bulletproof" which follows, is a perfect example of 12 Stones at their finest. Both are anthems of defiance in the face of the odds. In "Bulletproof," frontman Paul McCoy sings the words like a battle cry: "I'm feeling superhuman, I'm invincible, I'm bulletproof."
"For the Night" is a softer tune, one of several on the album that leans towards encouragement. The lyrics call listeners who might be struggling to move out of the night. "Worlds Collide" is an aggressive track about a struggling relationship, expressing both frustration and a need to move beyond bad influences to find your own identity. The theme of struggling through relationships takes a gentler tone in "That Changes Everything," which stresses the need to look beyond ourselves and see the way others are hurting when a relationship gets rocky.
A beautifully solid moment on the album comes with the catchy "The One Thing," which is also one of the most spiritual tracks on the album. "The burning inside, it keeps me alive. I can't give it up, it's the one thing, the one thing I need," McCoy sings on the chorus, backed by an instantly memorable guitar riff. "Blind" demonstrates beautifully how an acoustic guitar can be used to add an incredible depth to rock tracks, a rich acoustic bed lending a mellow foundation to the tune.
As the album continues to unfold the themes introduced earlier grow more complex. "I'm With You" presents a haunting, darker-edged guitar tone, fitting for a track addressed to a suicidal friend. The earnest track pleads, "Would it change things if you knew I'm with you?" One of the album's softest moments also proves to be its most poignant in the heart-wrenching "Bury Me." "I dare you to make believe you're better now," the lyrics cry. "I dare you to bury me."
Few rock albums are truly complete without an anthem. That spot is filled here by "Psycho," an offering that relies heavily on its chugging guitars and a solid guitar solo to create an adrenaline-laced anthem ready for any arena. "Only Human" returns to a more typical alternative sound as it explores human imperfection and the need to be honest about our weaknesses.
"Someone Like You" is another of the darker tracks on the album. This weighty song echoes some of the themes of 12 Stone's older song "Lie to Me," calling out a role model figure who ultimately lets the singer of the song down. The final two tracks on the album explore two very different sides of relationships. "Shine On Me" looks at a relationship where the other person is like a light in the darkness. "Pretty Poison" explores the influences that destroy us. It could easily be applied to either a person or a vice: "Leave me alone, all the poisons inside my head."
Closing Thoughts:
Beneath the Scars is a rare example of a rock album untouched by the recent electronic and hyper-produced musical trends. Any alternative rock fan looking for a dark-edged, raw rock album will be satisfied by 12 Stones' latest release, which stays true to their voice while still presenting some new material. Raw vocals, crunchy guitar hooks, and straight forward lyrics propel the album in a journey through some rough thematic waters, seeking to find hope and identity beneath the scars. This is one journey well worth taking.
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