Engaging Summer Sounds | Posted July-29-2015 The Pitch: A Solo EP from the lead singer of Random Hero.
What Works: Industrial rock hooks wait to greet you as opening track "Sweetest Melody" takes the stage. With a slight southern flare, the song is a standout among the bunch and is crisp and accessible for radio audiences. Yet it still packs enough emotion to cut to the heart through how Christ longs for us to call on Him.
"Love Will Conquer" is a great companion song to this, packing a similar sonic frame and a complementary theme, reminding us how God is there for us and will lift us up through our trials if we run to Him. These two songs together paint an encouraging picture of the endless love of our God, cast as catchy and upbeat light rockers.
Title track "Chasing After You" opens with a soft string section that is one of the album's more memorable musical moments. Serving as the obligatory soft song, it's a fitting contrast to the guitar-driven energy of the EP's speedier offerings.
What Needs Work: The flashes of greatness in the album do highlight a bit of an average feeling in some of the other tracks. Many of the songs take a similar sonic approach, thus limiting the overall replayability factor a bit. On a full-length project, I'd like to see Watkins explore more to see if there can be a more unique stamp to place on a solo project.
Closing Thoughts:
If you like Random Hero and similar bands in Christian Rock, Aaron Watkins offers a fun and enjoyable rock EP that is right at home in the windows-down, volume-up summer setting. While wanting just a bit for musical depth, the EP is a friendly, encouraging, and engaging romp that is sure to be a crowd-pleaser.
Prelude to Greatness | Posted July-15-2015 The Pitch:
A new electronically based band from the frontman behind Everyday Sunday.
What Works:
Mix some Eleventyseven with a few shakes of Everfound and stir in some Everyday Sunday, and you get a rough idea of what Populis sounds like. The band's got a captivating energy that comes out like a well-made dessert: sweet, but not so sweet that your blood sugar sends you into a coma.
Electronic pop singing about how great love is or how lucky the singer is to have such a great girl is safe, commercial territory. But even such a familiar approach would fall on its face if not given artistically sound execution. You've got to sell the music, and the guys of Populis do just that.
The melodies are just earnest enough to feel like genuine statements. The lyrics ride the waves safely enough to avoid drowning in the clichés that arise in the mix. "Lucky" is a fine example of everything that works well about this band. It's got a shiny pop paint, earworm-bound chorus, electro-hooks and lyrical declarations of love-- pretty much all the ingredients for a pop hit. It'd be easy to write it off as another bubblegum-pop number. But it's simply a worthy and enjoyable cut. There's something to be said for music that clicks with what it's trying to do.
"It Was Alright" takes a more laid-back approach. Standing in contrast to upbeat dancers like "Come Alive" and "Lucky," the track proves that the band has range that still fits within the glowing electric package. The EP is short and only offers a small sampling of the Populis sound, but consider me intrigued and on board for a full course musical treat.
Areas To Tackle Next:
I'd like to see subsequent releases offer songs that don't make me think "Eleventyseven meets Everfound" but rather "Ah, this is Populis." This is a debut EP, and in that role it works wonderfully to introduce talent and tease musical gems to come. The next step for subsequent ventures is to take the ingredients here and mix them into something Populis can truly call their own. Lyrically, I think there are more profound statements waiting to be penned just beneath the surface.
Closing Thoughts:
I had a feeling from just looking at the cover art that I was going to like these guys, and from the first notes of the instrumental opener, I was pretty much sold. Start to finish, this is a sweet and enjoyable electropop offering that promises great things. It's only a beginning, and there are some areas to work on. But when an act can start with this much promise, you can't help but sit back and hope that they can run with this and launch themselves to daring new musical heights.
A Reason to Get Excited | Posted June-29-2015 The Pitch:
Phil Joel is back with a new band, and they're gonna do worship music.
The Good:
It's Phil Joel! The guy was with the Newsboys for almost 15 years and was a part of some of the biggest hits of their career, like the signature "Entertaining Angels" from Step Up To The Microphone. Then he went on to have a number of well-received solo releases.
The guy's clearly talented. So is it any surprise that the EP is incredibly enjoyable? Transcending the typical feel that comes with the "worship" music label, Zealand opts for an exciting sound that would be at home on any pop/rock Christian radio station. This is definitely the kind of music meant to be played live at stadiums (and they're a new Word band, so don't be surprised if they show up on Winter Jam).
"You Awaken My Soul" is a stirring and exciting opener that keeps lyrics vertical and the music exciting and engaging. One of the funny things about Zealand is that it musically feels right at home both with the Peter Furler-era Newsboys and ironically also the current Michael Tait-era Newsboys, especially material from God's Not Dead.
"That's Who You Are" feels even more like something taken from one of the latest Newsboys albums. "Greener" is a slightly more laid back offering, but still of no less quality in its uplifting execution.
"Savior" is another hit in the making with a soaring chorus and enough beat to drive the song home. With a slightly electronically-tinged pop/rock sound, this isn't at all revolutionary. But it sounds really good. And at any point, you know who these songs are about, and who Zealand is about. With this release, Phil Joel proves he has the chops to carry a band.
What Doesn't:
The album doesn't totally escape some of the repetitive lyrics and slightly overlong tendencies of popular worship music. And as far as pop music is concerned, these songs take a familiar approach that could impede it standing out in the long run.
Closing Thoughts:
Despite its safe and familiar approach, this is a refreshing and exciting release with catchy worship numbers and uplifting musical standouts. I'm definitely looking forward to a full-length release. Zealand has the energy and the passion to become big, and here's hoping this is a landmark comeback for Phil Joel.
Acoustic Reflections | Posted June-01-2015
On the heels of a successful debut with Awakening Hearts, singer/songwriter Mike Lee returns with a follow-up EP, All I Need.
What Works:
The soft, acoustic approach carries a nice "rainy day" living-room feeling of intimacy, with simple instrumentation and well-mixed, passionate vocals. Lee is an effective worship leader and keeps the focus squarely on Christ.
"Come on, Come on" boasts a hook catchy enough to round out an album highlight that calls the Church to action in worship of Christ. Definitely a single candidate, the song's guitar riffs and upbeat chorus lends a lot of credibility to what Lee can accomplish as musician and lyricist.
"Different" leads with a country beat into an emotive chorus of praise. The song definitely sets a solemn and reflective mood. Lee's honest and vertical reflections set to simple, crisp music definitely succeeds at its goals and should help listeners delve into reflection and praise of their own.
What Doesn't:
Lee is capable of writing a standout worship milestone, but I think this EP may not be where it's found. The low-key tone will definitely make this an album for specific moods and tastes.
In a sea of albums aiming for the same goal, a big challenge facing this EP is defining itself among similar artists. I think that's one of the areas of struggle here that could be focused on in the future. Good things are certainly to come from Mike Lee, and I think this EP is just the opening number.
Closing Thoughts:
Mike Lee has crafted a deeply personal and relevant EP. Filled with honest reflections, powerful worship, and effective music, All I Need is all a listener would need to delve into the praise of God in song. The decision to opt for a simple acoustic approach will draw some, while possibly leaving others dissatisfied. And I do fear a sound and execution that is very familiar, despite the acoustic angle, could leave the project a bit too undefined to be a standout. Still, it's a success on many fronts, and it is a commendable achievement for Mike Lee.
Resolute Potential | Posted May-03-2015
Joining all the new pop/rock bands defining a new generation of CCM is Elliot, a pop/worship act newly signed to DREAM Records. There usually has to be an "it factor" to separate the memorable acts from the bland copycats. Fortunately, Elliot's sound pushes them towards the former.
What Works:
Brothers Casey and Corey Parnell front a pretty refreshing worship act here. Dabbling in synth pop at times, the album blends emotive crooning and upbeat balladlike melodies to create a signature sound. On the surface, it shouldn't feel as original as it does. Chanted "woohs" and "oohs" are popular right now. Guitar-driven pop is a safe choice for worship. Even electronically-tinged beats sprinkled in put the band in good company. Yet somehow the effort transcends any limitations to truly resonate.
I suppose this is where that "it factor" comes in. Everything just seems to click here. The piano intro to "All Things New," coupled with a soothing vocal performance and upbeat musical support, make the song an all-around beautiful endeavor. "I Don't Walk Alone" is a more rousing and anthemic number that sets itself up as single material. Boasting a powerful chorus that builds on the calming vocal style with joyful shouts of praise, the song soars high and aims for the sun.
"Starlit Sky" is another highlight here with a memorable opening leading into an all-around hit of a song. I could definitely see this one becoming one of the album's most popular songs. "In The Safety" turns up the rock energy a few notches while still fitting the band's sound like a glove. Providing some needed versatility, the song reminded me a bit of Citizens and Saints at parts while still sounding distinctly Elliot.
Parnell's vocals also compare favorably to Ryan Kirkland's (Between the Trees) at times. Yet there's no doppelganger effect here. The album is an all-around fresh debut from a promising act that I hope to see the join the ranks of the new elite in Christian pop rock.
What Doesn't:
With everything flying on all cylinders, there really isn't much to have a legitimate complaint about. I suppose, taken as a whole, the stylistic similarities of many of the songs keep some tracks from standing out in repeated playthroughs of the album. With the overflow of talent, subsequent albums could become landmark releases if some of the tracks are made more distinguishable from one another while still standing together to create a unified album.
Closing Thoughts:
Destined to be one of the year's underrated treasures, Resolute is a shining achievement from a great band. The soothing vocals coupled with the upbeat music pairs in a way that many bands try but often fail to accomplish. While everything is played close to the vest, there's just something about these guys that just makes the music better. Keep an eye out for what they'll do next.
Exhaling Fresh Air | Posted April-27-2015
Plumb reclaimed her role as one of the most dynamic and powerful presences in CCM with her previous album, the stirring and chart-topping Need You Now. With arguably one of the most successful songs of her career in the title track and a prime spot on the annual Winter Jam Tour Spectacular, Plumb was put in the perfect position to have an eager audience for her follow-up. Electing to go in a more worshipful direction, listeners have been eagerly awaiting to see what such an album from Plumb might sound like.
What Works:
This isn't your typical Plumb record. Plumb is known for a handful of signature sounds, and I'd say about 90 percent of those sounds are either completely absent or extremely dialed down on this release. She isn't a stranger to softer pop tunes, but they've never been the bulk of her music. They certainly haven't ever been the entire composition of an album. Yet, this is what we have here with Exhale.
Taking away the expectations of what a Plumb album is supposed to sound like, the album actually stands tall as one of the best adult contemporary albums of the year. Most albums targeted at this audience wish they could be this good.
Lead single "Lord, I'm Ready Now" is a powerful and honest portrayal of surrender, and the stirring musical backing makes the track an immediate standout. "Champion" (and "We Stand For You" on the Deluxe Edition) both are fitting Easter songs (a little late, but hey, you have a head start for next year) that examine both Christ's sacrifice on Calvary and His subsequent triumph over death. The music in each song is anthemic and relentlessly engaging.
"Resurrection" and "Great Is Our God" also keep the momentum going on this playlist with worshipful energy. These songs are musically rich, lyrically vertical, and powerful musical experiences--yet they avoid the common trappings of most corporate worship tunes and thus stand as a shining example of what worship music can and should be on a more regular basis.
"Smoke" and "Restored" are among the examples of the softer and more reflective offerings balancing the radio powerhouses. They do their job with glimmering poise and round the album out with a shimmering completeness. Some of the "oohs" and "aahs" even echo some The Civil Wars-type moments. It takes great finesse to pull off a mixture of both rousing and calming tunes, but Plumb is clearly up to the task.
What Doesn't:
This isn't your typical Plumb album. One thing that always made Plumb stand out was her varied signature sounds, deep emotional songwriting, and unique approach to create music. The result was always something that hit hard and looked like nothing anybody else in the business was doing. This time around, simply doing what everyone else is doing better replaces that innovation, and it's hard to not be at least a little disappointed at the more generic approach. And really, even this kind of sound has been better executed by Plumb before, most notably in "Need You Now" from the last album. Nothing here carries that kind of gravitas. Ultimately, the biggest shadow cast over this album is that of previous Plumb albums.
Closing Thoughts:
Without question, this is one of the strongest releases so far this year. Confined to the A/C genre, there's unlikely to be much that will even come close to it. The powerful vocals on this album are a mighty case for Tiffany Arbuckle Lee to be named Female Artist of the Year at the next WE LOVE CHRISTIAN MUSIC AWARDS.
By all measures, this album is a rewarding and roaring success, combining passionate vocals, lyrics, melodies, and music into a tight and accessible package. The biggest problem is that Plumb is so talented that she has set such a high standard with her unique sound, and an album that plays it so much safer than the edgy and emotionally-tinged dance/pop/rock of previous releases somehow feels a little bit like a letdown. But with expectations set aside, this album shines at what it set out to do and is a rewarding addition to the body of landmark Christian A/C releases. It may not be Plumb's pinnacle, but it's certainly among the best for this year thus far.
An Indie Act to Watch | Posted April-15-2015
There has been a trio of similar-sounding names in the past few years of indie rock: Anberlin, Sumerlin, and Foreverlin. They are names that sound like part of a series, a sound that while not identical seems to draw definite influences from a similar sonic pool and an uncanny and non-typical approach to creating a rock record. Here we have the sophomore debut from the currently least-known member of the club, Foreverlin.
What Works:
Foreverlin's Still After blends a soft, ambient sound with more standard guitar-driven rock to produce an enticing and captivating indie-rock vibe. "Escape" is a highlight, and it would work well as a single. Encouraging a weary soul to persevere, the song carries one of the album's more emotive and memorable choruses, with "Don't let your failures lead your heart towards giving up" serving as of the album's standout lines.
"Worth Your Love" plays on similar themes in a ballad setting, but the track takes a first person point-of-view to the healing Christ's presence can bring to our lives. Again, the band stuns with some captivating musicianship that foregoes the flashy while still being full and intense. This is another single-worthy selection. "Sanguine" takes things out with a slow-building closer that moves to a rocking climax, refusing to let the album go out on a whimper.
What Doesn't:
There are a few too many interludes here, as they do not all feel completely necessary (piano-driven "Above" being a notable exception as it does succeed in ramping up excitement a bit at the start of the album). They often detract a bit from the fullness of the album. Some like "Alaska" even feel like they should have been full songs. On their own they aren't necessarily bad, but in the context of the album as a whole, they feel more like they pad out the tracklist rather than enhance the songs adjacent to them.
Closing Thoughts:
Foreverlin has put out a treat for indie rock fans, and this is definitely a highlight for the genre this year so far. Foreverlin's organic style feels intimate and fresh, and ample experimentation keeps the record from falling into predictable or standard trappings.
Still, there is a bit left wanting from the tracklist when all is said and done, and some of the songs feel like they could have and should have been a little more given the strength of what was presented. Foreverlin has all the great ingredients to make a landmark release with a little bit of stirring. Hopefully this album will put them one step closer.
A Sweeping, Artistic, Musical Statement | Posted April-10-2015
Kings Kaleidoscope has quietly become a sort of critical darling in Christian music, and their label is re-releasing some of their old work in response. Sin was an EP from a few years back that is among the first to be reissued.
What Works:
The Kings produce heartfelt vertical worship music (both traditional standards and originals) with an unrivaled artistic touch. These guys know how to spin an intricate and engrossing musical web that amazes and takes the breath away. Be it stunning string sessions, slamming orchestral beats, or the gritty guitar-work, these tunes are packed with a musicianship that the industry is so hungry for, I am not sure they are going to know what to do with actually getting it.
Fittingly re-released during the Easter season, 2 songs about the crucifixion are among the album's standouts. "One Righteous Man" and "What Have We Done" are emotional takes on Christ's death on the cross that are quite the dynamic musical journey. Contrasting the righteousness of Christ and the vile treatment He received and the tension between the salvation of the Cross and the sins that put Him there, these songs dig deep and invite listeners to consider the cross beyond just the skeletal accounts we may have gotten so used to.
Worship standards "How Deep…" and "Jesus Paid It All" are Kaleidoscized appropriately, with the vivid instrumental backing that made the other songs so enticing also lending a new life to these timeless classics. You haven't heard these hymns done like this before, and that is proof of the EP's merit.
What Doesn't:
The vocal style and delivery are sometimes a bit of an acquired taste. Trading between accessible pop/rock vocal lines and innovative indie experimentation, there are definitely creative risks taken. While this gives a bit of an "arthouse" feel to the whole production, some of it limits the replayability of the songs. While the talent was definitely there, behind the lush instrumentation, some of the songs felt a bit undercooked at times.
Closing Thoughts:
The Kings are certainly a name to watch, and their critical acclaim is going to give them a platform to really release some defining tunes of this musical era. Sin was a noteworthy precursor to that greatness and its re-release is clearly justified, even if it's more appetizer than main dish.
Cultural Fusions | Posted March-09-2015 The Pitch:
An African Children's Choir singing worship songs in the Dance/Pop style that's currently gaining traction in American worship.
What Works:
If that pitch sounds like it could either really work or really not work, then we're on the same page. Fortunately, this collection of songs mostly lands on the former.
When opening track "Be Exalted" kicks in, there's an almost spine-tingling complementation between the danceable music and the harmonious African children's choir vocals. "Heirs" is a strong moment that strikes a fine balance between radio-ready music and enchanting choral refrains.
"Hope" is another standout track, utilizing older adult vocals with the choir to help round out the song into a lush anthem. This is actually a recurring strength that helps the album avoid feeling too gimmicky. Blending the children with the older voices creates an intergenerational feel that enhances the listening experience.
In terms of message, the songs are all pleasantly unwavering in their vertical worship approach. Every word is breathed with praise to a Savior who alone is worthy, our hope, has elevated us to be His children, and deserves exaltation and love. While the bulk of the music is pleasant and danceable pop, there is enjoyable variety that helps make the musical experience especially rich. Be it the acoustic guitar-driven title cut or the closing track that carries a much more distinct African musical vibe, they serve as good balances to the anthemic radio-ready highs.
What Doesn't:
As good as the album as a whole is, and as pleasant it is to listen to, a few of the songs feel a bit underdeveloped. Even the stunning opener "Be Exalted" feels like it is missing parts that could've helped make it feel like a more complete musical endeavor.
Some of the songs feel like they end a bit too abruptly, as if there was supposed to be more but some time limit was reached. At times, the writing feels safe and easy, perhaps a bit too reliant on the strength of the vocals and music to carry the songs. None of this detracts too much from the listening experience, mind you. Perhaps it just highlights areas things can be even better next time.
Closing Thoughts:
The choral vocals blend well with the more standard adult pop vocals to create a unique dynamic that complements the worshipful pop sound nicely. From the fast highlights to the reverent softer tunes, the album is definitely one that can satisfy, engage, and enrich.
There is an inescapable feel that the lyrics are riding the coattails of the other elements a little too heavily, but luckily the music and vocals carry what is there enough to make for a solid album. This is definitely an album to check out that you probably weren't even aware was coming.
BridgeCity Awakens Hearts | Posted February-09-2015 The Pitch:
Christ Be Glorified is electronically-tinged pop/rock worship that shuffles between catchy hooks, exciting anthems and laid-back soft AC-style worship.
What Works:
The electrical backing to many of the songs coat these pop tunes in a catchy goodness that makes many of them difficult not to dance along to. "Awaken Hearts" is a radio-worthy anthem that almost harkens back to 90's-era CCM. Opening track "Light A Fire" carries the rocking energy you'd expect from such a track, and tinged with electronic hooks, it's a great kickstarter.
Reinventing old hymns is another surprising strength of this release. "The Old Rugged Cross" and "Nothing But The Blood" get a whole new life breathed into them with the electronic treatment. You might be tempted to write it off as a bit irreverent, but the hymns' beauty and earnest messages carry through well to the new approach. And perhaps the honest emotion behind the words resonates a bit more shaken from the standard style we've come to associate with them. All in all, some of these songs pack a surprising musical punch that helps elevate the album as a whole.
What Doesn't:
The album sags a bit when it foregoes the pop sound that works well for it in favor of a more standard approach. This is most apparent in some of the middle tracks, which get buried a bit under the weight of the stronger tracks. While never sacrificing vertical, lyrical integrity, some of the tunes become a bit complacent and forgettable when stacked next to the album's highlights.
Closing Thoughts:
BridgeCity develops the promise of earlier releases and creates some truly unique and enjoyable hits in this collection. It's hard to avoid the feeling of "mixed bag" when taking the highlights against some of the more standard offerings. However, the hits are truly standout offerings that could help establish the band as a powerhouse rising star in the coming months, and they definitely set more precedent to build on next time. If subsequent releases can capitalize on the areas that work best and strengthen the ones that don't, BridgeCity could easily climb to the level of spectacular.
JJFrancesco_NRT's Music and Book Reviews 
