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...
Seventh Day Slumber originally made a name for themselves in the Christian hard rock subgenre, building a foundation grounded in solid rock riffs and lead singer Joseph Rojas’s incredible ability to speak and write songs birthed out of his own struggle and testimony. In 2009 they took a step sideways, recording an album with a worship focus (Take Everything) while still infusing it with their rock sensibilities. Now, two years later, the Dallas-based band is back with an album that fuses the worship and hard rock genres into a new powerhouse sound.
The Anthem of Angels kicks off with songs affirming God’s faithfulness in the midst of struggle. “Wasted Life” is a testimony to God’s ability to take people as they are and rescue them from the midst of wasted lives. This song and the next, “Love Came Down” (the corporate worship song by Bethel Music’s Brian Johnson), are both carried on a strong backbone of Jeremy Holderfield’s solid guitar work.
“One Mistake” and “Addicted to My Pain” are both songs of struggle, reminiscent of classic Seventh Day Slumber material. Both have very well crafted acoustic introductions that drop into the main riffs of the song. “One Mistake” is an honest song written from a place of fear that God will walk away. “Addicted to My Pain” is one of the strongest tracks on the album. If this is an album of anthems, this is an anthem of painful self-examination.
These songs are followed by “Never Too Far Gone,” a song that could be an answer from a friend watching the speaker of “Addicted to My Pain.” The song is a call to action, to overcome the feelings of hopelessness when “you’re drowning out your tomorrows and the melody of pain is on replay.” The guitars here are gritty, crunching behind Joseph Rojas’s earnest vocals.
The fitting follow-up tracks are “Pieces” and “Crash,” both of which are tracks that cry for God to come as the only Healer. In the progression of the album, it feels like we would flip the record here if this was vinyl. Thematically the album changes as it begins looking up.
Towards the end of the album we are given a glimpse into Joseph Rojas’ own testimony. As a former cocaine addict and a convicted felon, Rojas definitely has credibility when he sings out “You make me feel like I belong, You give me strength to carry on. And I feel so alive since that part of me died.”
The album wraps up with Seventh Day Slumber’s take on John Mark McMillan’s “How He Loves.” Although they tread very well-traveled ground here, they definitely bring a new flavor to the table with the heavy drum work, soaring background vocals, and their own twist on the bridge (“Heaven meets earth like the very first kiss”).
Closing Thoughts:
The genre of worship music can often present a more or less closed door to hard rock artists, but Seventh Day Slumber doesn’t just knock on that door; they knock it down and invite their fanbase in with them. The Anthem of Angels is an album of searching, of honesty, and of worship. The seamless blending of their gritty roots and heartfelt worship lyrics is a feat few bands have accomplished. This album is well worth looking into for fans of either worship or harder rock.
The Poets Are Back For The Holidays | Posted November-09-2011
After seven successful years and four studio albums, Atlanta-based Christian rock band Smalltown Poets stepped down for a hiatus in 2004. Six years later, in 2010, they put out a Christmas single in anticipation of things to come. This year we have their first full release since 2004’s It’s Later than It’s Ever Been with their Christmas project (which you can preview for free here).
The band spent more than a year working on the album, and their care and attention to detail shows strongly throughout each song. They offer their own take on several classic Christmas songs, but they also offer a few originals. The album weighs in at an impressive 14 tracks long, and although two of these are brief musical interludes, it still plays as a refreshingly full and well-rounded album.
The album starts off with a haunting rendition of “O Come O Come Emmanuel.” This beautiful song introduces their incredibly strong instrumentation choices that hold throughout the album. After a solid rendition of “In The Bleak Midwinter” (their single from 2010), we are introduced to the first out of the ordinary song on the album, the several decade old GLAD song “In the First Light.” The song is a beautiful track that builds musically throughout the song as it speaks about the birth of Christ and the angels’ celebration, made infinitely more meaningful when it looks forward in Michael Johnston’s words “how much greater will our song be when He comes again?”
After a very simple, clear rendition of “O Little Town of Bethlehem,” we are treated to another original song in “St. Nick is Alright.” The song is essentially a snapshot, attempting to “crystallize my festive ruminations.” The lyrics draw some interesting parallels between the legend of Santa and how parts of it actually hold deeper truths about the meaning of Christmas.
Smalltown Poets takes a creative turn in recording three classic Christmas songs (“Silent Night", “We Three Kings” and “Angels We Have Heard on High”) as primarily instrumental tracks. This allows them to create some beautiful arrangements without dependence on the words, which gives them a very unique flavor well worth savoring. These brief interludes held the album feel more like a coherent whole, and are overall beautifully done. Another highlight of the album is “On Christmas Day (Ave Maria),” a song that blends the piano and choral part of the classic song “Ave Maria” with original lyrics. The result is a masterful and moving piece that audiences of almost any genre could connect to and enjoy.
Some of the other classics get a much more straight forward but solid treatment. “Good Christian Men Rejoice” and “The First Noel” are both well done modern treatments of classics. We get one more original song in “His Delight,” a primarily acoustic track that is again very well written. The imagery of the song as it speaks of the joy of Christ’s birth is vivid and beautiful: “and from the starry veil beamed a fatherly smile, streamers of perfect light from a blazing sign on a holy night. Behold his delight.”
The album finishes with a comfortable recording of “We Wish You a Merry Christmas” that sounds like it could have been recorded as friends played together at a Christmas party. It’s a fun way to end the album.
Closing Thoughts:
Overall, this is a very solid Christmas album with some very strong original songs and some creative twists on classics that makes the record as a whole stand out amidst the wide range of other Christmas releases this year. The album is upbeat and lighthearted in the right places and reverent in others, and overall it is a very well-rounded collection of songs that makes me hope these guys share more of their music in the future... and hopefully not another seven years down the road.
The Highs and Lows of Deas Vail | Posted October-25-2011
Deas Vail made their mark on the indie scene over a year ago now with the release of their album Birds and Cages, the first album to be released on the revamped Mono Vs. Stereo label, a small outfit currently owned by some of the members of Relient K. Birds and Cages proved to be somewhat of an underground hit, recognized for Wesley Blaylock’s ethereal vocals and the finely crafted imagery of the lyrics.
This year, Deas Vail has returned with a self-titled effort produced by longtime Relient K guitarist Matthew Hoopes. The album delves deeper into the musical landscapes they have already explored. Much of the album deals with issues of love, both in places where it runs smooth and where it is rough.
Appropriately, the opening line of the bittersweet track “Desire” is “I don’t know what love is.” Much of the song is structured around a call and response between male and female vocals, like two heartbeats running side by side but never quite connecting.
The second track is one that was released on Deas Vail’s joint summer EP, the unashamed love song “Sixteen.” The infectiously happy song is made even more meaningful by the fact that lead singer Wesley’s wife Laura is also in the band, playing keys.
One of the things that makes this album unique is the way they flawlessly blend the acoustic/indie vibe with an unusually strong bass presence, courtesy of Justin Froning. This thread comes out in the melancholy “Quiet Like Sirens,” which is also driven by a strong electric guitar line.
The regretful “Summer Forgets Me” displays the band’s incredible ability to craft their lyrics. Lines like “I gave a lot, but never what you need--winter comes, the summer forgets me,” combines straightforward honesty with very brilliant, visual lyrics. “Towers” follows, introducing a slightly harsher note into the album with hard-edged guitars.
“Pulling Down the Sun” continues the slightly darker vein, reaching into the depths of a bass line and fragile lyrics imploring “it never ends, are you failing me again? I’m fading in the dark. How did I become the one that’s fallen?” This basic theme of searching and wandering continues on “Bad Dream,” which begins with the haunting words “I am alone in a stranger’s bad dream.”
These songs provide a good balance to some of the more lighthearted track. Wesley Blaylock has said of the album: “I try to temper my lyrics by looking at all sides of relationships.” That goal is definitely realized even more in songs like the contemplative “Common Sense,” which looks at a relationship disintegrating “all for common sense,” the slightly funky “Wake Up and Sleep,” and the laid-back “The Right Mistake.” The album does not shrink from exploring relationships in all their complexity and occasional tragedy.
The band is also very bold musically, exploring a much more drifting, synth-based sound with their mostly instrumental track “The Meaning of a Word.” The album ends on a note of moving on, exploring the nature of the transient and the permanent: “I’m tossed about, I’ll sail into the storm. If I’ve lost you now, these waves will carry me on.”
Closing Thoughts:
Deas Vail’s music creates a very light atmosphere, carpeted by raw bass under the limitless sky of Blaylock’s soaring vocals. The album is honest, and although not directly spiritual in the traditional sense, it addresses themes of hope and searching for something solid in a shifting world. It is an album of bold exploration, with the beautiful moments and the hurting moments tied together with incredibly strong songwriting and a refreshing simplicity in the production that makes this album one of the stronger releases of the fall.
Family Force 5 plays a style of music that has been aptly described as “party rock.” The Atlanta-based band of brothers has had a whirlwind career over the past few years, moving from playing side stages at Warped Tour to headlining major Christian festivals. Their in-your-face southern rock grit combined with a stated mission to “party for Jesus” has created a reputation that spans genre divides, winning them popularity in both Christian and mainstream markets.
Their first two albums display different sides of the band’s personality. Business Up Front, Party In the Back has a heavy rock edge, while Dance Or Die has a smoother, more dance-focused tone. On their third and highly anticipated release, aptly named III (pronounced simply “three”), they manage to mix these two together to concoct blistering, beat-heavy tunes that yet again reinvent their own genre.
The record kicks off with "Can You Feel It," a song reminiscent of their first album with its heavy guitars layered behind Soul Glow Activatur’s screamed vocals. The song is in many ways an invitation into the album, to enjoy the music. One of the more serious tracks follows with the intense "Paycheck." Family Force 5 tackles issues of unemployment and poverty in America, addressing the issue with their usual tongue in cheek lyrics (“never heard of vacation-- I think they give those away at the radio station”) combined with honest sympathy and encouragement.
Some fans may already be familiar with some of the next tracks on the album, the incurably catchy "Wobble" and the cute "You Got It," a love song ringing with an indie vibe. Both of these tracks were on Family Force 5’s earlier release, the III EP. Continuing in the vein of "You Got It" (which lead singer Soul Glow has dedicated to his wife in the past), the next track is cleverly written, Latin-influenced "Mamacita."
What follows is the throbbing "Tanktop," possibly one of the most classy dance tracks you’ll ever hear. The song could practically have been written from the stage of a club show, watching the fans filter in. Part of its strength is that it is very restrained despite the strong beat, giving it a simultaneously mellow but intense feeling. The Family Force 5 guys know when to back off on the guitars and let the beat and vocals carry a song.
"Not Alone" is the album’s CHR single, which is already climbing the charts. The song is the most strongly spiritual song on the record, showing that when Family Force 5 does choose to take themselves seriously, they can pull it off with sincerity. The track speaks to those who feel lonely or abandoned.
Family Force 5 keeps the party going until the end, moving into the previously released track "Dang Girl." The following track, "Love Gone Wrong," is one of the strongest tracks on the album. It’s impossible to take the song seriously, and equally impossible not to want to sing along. The track talks about a girl who shoplifts and picks pockets. The song mournfully declares that though she’s no good “she’s sweet to me,” so the speaker of the song can’t seem to break up with her.
The album closes with the song "Get On Outta Here," which debuted at a few summer festivals. Soul Glow has dedicated this track to “the haters.” It’s very tongue in cheek, and very likely to be stuck in your head for weeks after your first listen.
Closing Thoughts:
Family Force 5 is a band that has seen a lot of controversy. Many feel wary about the atmosphere they often play in and question their goal to party for Jesus. There has been a clamor for more spiritual substance in their songs, and Family Force 5 very often has to address that in their interviews.
If you look for a deep theological message on III, you are unlikely to find it. What you will find is a hopelessly happy album made by five guys who aren’t afraid to look more than a little silly in order to spread their infectious joy. Tracks like "Paycheck" and "Not Alone" show that they have a solid foundation, that they are aware of the realities of spiritual struggles, while tracks like "Can You Feel It" and "Tanktop" show that they aren’t afraid to enjoy life anyway. Family Force 5 successfully manages to shed some light in the otherwise very murky club music scene, without taking themselves too seriously along the way.
Thousand Foot Krutch has settled comfortably into the position of one of the most enduring, well-known Christian rock acts. Their original signature rapcore sound on Set It Off has morphed significantly over the past decade, while still maintaining a heavy beat and the searing vocals of frontman Trevor McNevan. September 2009 saw the release of their album Welcome to the Masquerade, a record that cemented their role as one of the loudest Christian voices in arena rock. Two years later, even as the TFK guys are hard at work in the studio wrapping up their next full album (tentatively titled The End Is Where We Begin), Welcome to the Masquerade is getting a bit of an update.
This album was arguably the strongest of Thousand Foot Krutch’s career to begin with. The album looks at life as a delicately maintained masquerade: we all wear masks. We all find places to hide, and yet at the same time we all long to be found out, to be seen as we are. It is an album for the broken hearted, and yet it is not afraid to be bold. The explosive “Fire it Up” has found its way into games and movie trailers over the past two years. Well before the release of the album “Bring Me to Life” was making waves due to winning Taco Bell’s Feed the Beat promotion. Although the album holds many raw, adrenaline-laced rockers like “E For Extinction” or the cathartic “Scream,” it also holds some of the most gentle moments in TFK’s discography. “Look Away” addresses issues of suicide and cutting with a refreshing and earnest sensitivity. “Already Home” closed the album off on a hopeful, almost worshipful, note.
Now the album doesn’t have to end there. Thousand Foot Krutch added three tracks onto the album, tracks that are so strong it seems almost unfair to call them b-sides. The first of these songs is “Shook.” The muted, restrained beginning is shattered by the signature crunchy, dark guitars and driving melody that is Thousand Foot Krutch at their finest. “Shook” sings the theme of the original album release— it is a song of self-discovery, coming to the end of the dark places in your own mind to find that there is something brighter waiting for you. In a beautiful moment of honesty, McNevan sings “Outside, these streets are cold as ice. Never thought I’d have a chance to come alive again, see through your eyes again.” The bridge makes it clear where our hope is found: “I can see things clearer this time, won’t be long now until everything’s alright. Take my hand and let’s walk into the light.”
The next addition is “Take it Out On Me,” a bass-heavy track with an incredibly infectious melody. This song is a picture of how helpful, and even necessary, taking the mask off can be. In lyrics that could almost be seen as the flip side of the song “Scream,” the song boldly declares “scream if you want to, shout if you need to, just let it go.” The pulsing song seems to have been created for loud volumes and fist-pumping.
For the new closer of the album, “Anyone Else” takes things in a very unusual direction. The song explores the process of trying to heal a relationship, the endless attempts to apologize when the other person is not ready to forgive yet. The speaker of the song pleads that “some things are worth fighting for.” The song feels like a slightly more mature version of some of FM Static’s (side project of TFK members Trevor McNevan and Steve Augustine) earlier work. The song is hopeful, although it ends slightly unresolved. This is perhaps the most unusual addition to the album, but it works well as an album closer and continues the theme of honesty, showing how it can relate to relationships.
Closing Thoughts:
Adding to an already very strong project, especially a few years down the road, can be an uncertain endeavor, but Thousand Foot Krutch pulls it off beautifully. These new tracks are Thousand Foot Krutch at their finest: brutally honest, cathartic, hard-rocking, and ultimately hopeful. The added tracks enhance the theme of the original release without feeling redundant. This is an incredibly good investment for long-time TFK fans or for fans of Skillet or RED who are looking for something new in a similar vein.
In 2007, the small Alabama-based band Rush of Fools made an impact with their No. 1 song “Undo” from their self-titled debut album. A year later they followed it up with their sophomore effort, Wonder Of the World. Now, after three years of silence and a switch to a new label, Rush Of Fools is back with their third release, titled We Once Were.
In many ways the album's lead single, the soft, simple “Grace Found Me,” paves the way for the rest of the album. The band takes on issues of grace and our need for grace, writing with a style that fuses worship and adult contemporary Christian rock.
Most of the tracks are upbeat, simultaneously joyful and aware of a deep need for grace. The track “Come Find Me” is one of these tracks, as Wes Willis vocalizes a longing for God to come and bring faith, using Biblical imagery: “I pray you'll leave the 99.”
“Won't Say Goodbye” is another track that begs for grace, creating an interesting blend of softer verses and a harder chorus, which seems to mirror the ebb and flow of a Christian's understanding of their need for God to provide the strength to believe.
Throughout the album, one of the strong points is the way the instrumentation and tempo of the songs seems to mirror the lyrical theme. In the track “A Civil War,” which speaks about the internal struggle to reach a point of surrender, the percussion is strongly reminiscent of war drums. “No Other Love” is a joyful track that focuses on God in unselfconscious worship, and the general mood of celebration is echoed by the creative use of kazoos. The track “Help Our Unbelief” has a bit of an edge to it, both musically and lyrically.
The album definitely has a strong worship theme running throughout, most evident in songs like “Grace Found Me”, “No Other Love” and “Beginning to End.” The track “Beginning to End” is in a similar vein to much of Hillsong's work, and I could easily picture it being sung in a congregational setting. Some of the tracks take a slightly unusual angle while still moving in the vertical direction of worship, such as “You're The Medicine,” a track carried by a strong beat and the cry “You're a medicine, not a sedative.”
Closing thoughts:
We Once Were is an encouraging collection of songs about our deep need of grace, and the struggle to surrender to that grace. The record is upbeat and encouraging, and it is definitely a step forward for the band in the area of lyrics. I would like to see them stretching themselves more musically, as it still feels like they are trying to find their own unique voice, but overall it is a solid addition to the contemporary Christian genre.
Michael and Lisa Gungor have been making music with a rotating cadre of musicians since 2003, but they didn't see much recognition until the release of their breathtaking project Beautiful Things in early 2010. Part worship album, part experimental (Gungor likes to call it “liturgical post-rock”), the album sent out ripples that eventually reached the radio with widespread success of the title track, “Beautiful Things.”
A year and a half later, Gungor is returning with an ambitious project titled Ghosts Upon the Earth. This is an album shaped around reflections on the human experience, from creation to completion in salvation.
The bright track “Brother Moon” draws on a wide variety of instruments to create a unique layering of sound. The song explores the ways God reveals Himself through creation. The language manages to feel traditional and poetic while remaining fresh. “Church Bells” follows, a track that plays like a prayer for the Church.
Some tracks speak of creation. The mellow, beautifully constructed “Crags and Clay” gives us a picture of God pouring His life into His creation and calling it beautiful. “Let There Be” begins as a musical picture of chaos, a scattered guitar part and almost random piano notes held together by Lisa Gungor's voice as she sings: “Darkness hovering, grasping everything.” The track builds and becomes more complete, drawing in the haunting voices of a boys' choir and thundering percussion. Other tracks deal with death, as in the pulsing, ultimately triumphant song “When Death Dies.”
Most of the tracks deal with the in-between, with humanity's temporary sojourn on a broken Earth. A constant push and pull drives the album, almost a call and response between God and His children. The heartfelt cry, “I am Yours,” in “Every Breath” is countered by the narrative of “Ezekiel,” a metaphor following the way God's people reject Him even after He has rescued them. These tracks display quiet, drifting acoustic guitar and piano supporting frail vocals.
As the album progresses it refuses to allow generalizations, constantly taking on a new twist just when it seems to be traveling a definite path. “Wake Up Sleeper,” a call to reject apathy and hypocrisy, seems to weave three or four musical genres together seamlessly with its use of guitar, banjo, fiddle, a strong bass line, and some brilliant synthesizer work towards the end.
The energetic closing track, “You Are the Beauty,” pulls together many of the musical and lyrical themes of the album, declaring the beauty in all of God's gifts, echoing back to the chorus of the opening track: “You are everything beautiful.”
Closing Thoughts:
This album works to cement Gungor songs as some of the most creative, honest, and thought-provoking work of the past decade. They write worship songs that turn convention inside out, and they do it with breathtaking grace and creativity. Although seemingly devoid of obvious commercial “hits,” Ghosts Upon The Earth is, at last, music--complex, intensely thoughtful, beautifully worshipful, and very much worth listening to over and over again
Occasionally a musician comes on the scene equipped to completely defy expectations. Cory Lamb definitely fits that description. The talented Arkansas-based artist left a promising music career in L.A. to return to his home state and grew his sound from the local roots up.
This unusual approach isn’t the only thing that marks Cory Lamb as unique. His music channels some of the classic ‘80s and ‘90s rock he grew up listening to, combining driving, edgy beats and incredibly tight guitar work with some contemporary polish.
His debut project jumpstarts with the anthemic title track, “Break the Cycle.” This song serves as the battle cry for the rest of the album, pushing back against apathy and the tendency to compromise who we are in order to blend into our environment or circumstances. The driving energy carries on with the track “It’s A Good Day,” a feel-good, sing-along rock track worthy of Bon Jovi tradition. “Drowning” continues with a layered musical backdrop supporting lyrics about wanting to wake up and start again after disillusionment in a “fairytale” relationship.
Despite his skill with creating memorable beats, Cory Lamb isn’t afraid to show a softer side. “Storm” is perhaps the best example of this, an incredibly gentle and heartfelt song with a chorus framed as a prayer from a girl facing an unplanned pregnancy. This song displays incredibly powerful vocals and chilling piano that perfectly follows the poignant narrative of the lyrics as it looks towards the Calmer of the Storm.
As a whole the album displays some very strong songwriting, reaching a peak in middle of the record with “Circle.” The mellow track carefully crafts lyrics that capture contrasts: “I taste it like sour and sweet, like green comes from yellow and blue.” The song is permeated with a heartfelt ache and sense of loss, musically restrained and lyrically poetic.
Other strong tracks include “Praying For Gravity” and “Tell Me That It's Over,” both upbeat, energetic tracks with an underlying edge. The album ends on a lighthearted note with the nostalgic “Superman,” which expresses a desire to fight past disappointment and be “back in the days when I was superman.”
Closing Thoughts:
“Break the Cycle” is a courageous contemporary rock album, both musically and thematically. Cory Lamb addresses many elements of everyday human experience, from heartbreak to memory to identity. Each of these topics is tackled with honesty and an underlying tone of refreshing optimism. Lamb isn't afraid to display where this optimism comes from. The song “Light” confidently declares: “What haunts you now, what keeps you down, will all be lifted. Hold on and you'll see— there is a Light.” The album backs lyrics grounded in hope with beats infused with a contagious energy. The guitar work combines some of the best elements of the past three decades of rock and roll. We can only hope that this strong album is only the beginning of what he will accomplish.
7eventh Time Down: Anthems of Affirmation | Posted September-06-2011
In the middle of a flurry of other rock releases, another voice is emerging in Kentucky-based group 7eventh Time down, and they're bringing a flavor all their own to the table.
From the opening riffs of “I Need Someone,” the BEC band displays a sound that is reminiscent of labelmates Kutless, but with a decided Southern flair apparent in the gritty guitar tone. Lyrically, many of the early tracks are songs of affirmation of our need as humans and God's absolute ability to meet that need. The infectious “Alive In You” cries: “I am alive in You, You are the truth, You are the air that keeps me breathing.”
The album is in many ways an album of anthems, reaffirming who God is and how we act in response. Tracks like “What About Tonight” and “World Changer” push for action and passion in serving God.
As the album progresses it gains more momentum and musical diversity. “Do You Believe” is a track about the absolute importance of believing the truth, backed by instrumentation that feels almost folk-influenced during the chorus, partly due to the strong use of acoustic guitar. “Jesus Machine” is a more light-hearted track reminiscent of rock anthems of a decade ago, such as Pillar's “Fireproof.”
A slight thread of gritty Southern guitar weaves in and out through most of the album, asserting itself most strongly on “Love Parade,” which also showcases some unique lyrics and a live intro that aids in setting an energetic tone.
Another stand-out track comes with the final track, the heartfelt ballad “Rusty Nails.” The song is a worship track that acknowledges and honors Christ's death and sacrifice, praising Him in response. It is a good way to end the album, closing it on a softer note that sums up the themes well.
Closing Thoughts:
7eventh Time Down is a solid rock debut in the tradition of Kutless and Jeremy Camp. There is a diversity in some of the songwriting that suggests they are still finding their voice, but if that is the case then this album is definitely a step in the right direction. With its upbeat lyrics affirming truth and its infectious southern-styled guitar licks, this anthemic album is sure to keep audiences singing along.
Ashes Remain: Through the Fire | Posted August-29-2011
Ashes Remain, the rockers recently signed to Fair Trade Services, have released their second full-length record, What I've Become. As the title would suggest, the album wrestles with concepts of self-hate, regret, fear, and hope in the midst of depression, framed in grinding guitar hooks and raw vocals reminiscent of Skillet, RED, Seventh Day Slumber, or secular outfits Breaking Benjamin and Three Days Grace.
The opening track, "Keep Me Breathing," is catchy and instantly memorable, with a heartfelt chorus crying, “my mind's a loaded gun; no one can hear me screaming.” The song sets the tone of hope amidst darkness, admitting, “You're the One that keeps me breathing.”
Many of the tracks seem tailored to fit perfectly into the rock radio format, such as the very strong track “On My Own,” which calls out for God to break through the walls of pride in order to bring healing. The tracks are exceptionally well polished, showcasing musical skills the band has already hardened on the road. Another track that could easily hold its own in the rock radio arena is “End of Me,” featuring a heavy beat and a strong guitar hook.
Although the album features some good, heavy, hard rock tracks (notably “Take It Away” and “Inside of Me” later on the album), Ashes Remain also displays a softer side. “Everything Good” leans heavily on acoustic guitar and could almost be considered a worship track. “Without You” is one of the strongest tracks on the album, incorporating strings and piano to back up the poignant lyrics about waiting for God in the midst of heartache. “Change My Life” also shakes up the mix a bit, adding in more of a pop-influenced sound.
The album definitely delves into deeper topics, singing with an honesty that will prove instantly accessible to rock fans. However, it also provides refreshing breaths of comfort and assurance. One such song is the track “Right Here,” with words that could have been written from the viewpoint of God: “I'll show you how to live again.” This is one of the strongest moments on the album, making use of an instantly memorable melody and some strong acoustic guitar work amidst the usual gritty guitar riffs.
Closing Thoughts:
Although there's not a whole lot of new ground broken lyrically and instrumentally in this album, it's a formula that works. Ashes Remain certainly adds its own unique flavor to the formula, and What I've Become is a solid addition to any collection. One of the elements that sets them apart is their use of intricate, guitar-focused bridges in almost every track. Another element that gives them strength is their ability to meld acoustic and grittier elements flawlessly in the same song. Overall, it is a raw album that sheds some light amidst dark themes. The message is captured well by a line in the song “Unbroken”: “I'd walk through the fire just to feel You next to me.” The album walks through hard places while still fixed on hope through the grace of Christ.
MaryNikkel_NRT's Music and Book Reviews 
