Down By The River | Posted September-06-2014
Despite a name that sounds borrowed from the sci-fi pages of an experimental group like Falling Up, Rivers & Robots stays sonically closer to the 'river' in their name than they do the robots. With a slight chamber effect in the laid back vocals and a soft guitar backdrop to most songs, this is an album that musically feels like summers by the sea. In fact, continuing the Falling Up comparison, it wouldn't be hard to see them doing some of these songs, at least from a musical perspective. The simplicity harkens back to some melodic memories of Midnight on Earthship.
This isn't the kind of music that goes for bombast and cinematic scope. It's the kind that feels at home looking out at a calm sea, marveling at the wonder of creation. And with lyrics that are at home in familiar vertical territory, there's a definite effective vibe of humble creatures offering worship to their creator.
Some moments aspire to rise high, such as "In The Family" with more noticeable piano, more reaching from the vocals and a more defined hook. "Perfect Love" shoots for single status with a solid guitar hook and a singable chorus. The verses also shoot for the catchy, and help round out one of the highlights. "Love Himself dwells in my soul" is a thought that is simple yet profound, making the track also impressive lyrically.
Others, like the appropriately juxtaposed "Fall Down" and "Arise," succeed in staying grounded on the shore with music that transcends simple structures to uplift and inspire. The guitars always stay to the side to let the words really sink in and remind you of just Who it is the band is singing about.
Closing Thoughts:
Rivers & Robots know who they have set out to become, and this album does a solid job of defining them. Their laid-back approach gets the music out of the way and draws the focus to our Savior. There's a definite humility to the whole production that gives it freshness that's often lacking in music today.
A Solid Solo Venture | Posted September-01-2014
Solo albums from lead singers of popular bands always are interesting. It offers a chance to hear our favorite vocalists trying out sounds that might not quite mesh with their bands' established sounds.
Michael Sweet, lead singer of legendary Christian metal band Stryper, is no stranger to solo albums. Stryper's initial run ended with the beginning of a fairly successful solo run for Sweet. Sweet explored solo territory with a classically inspired love songs album with his last solo venture, 2007's Touched. Sweet's kept himself busy with several projects lately, but he still found time for a seventh solo venture with I'm Not Your Suicide. The album is decidedly mixed between established Stryper sound and experimentation.
Sweet's vocals are fairly iconic, so naturally, it'd take work to make anything he touches not sound at least a little like Stryper. While there are definitely a lot of Stryper moments, the overall project carries some interesting sounds that those who only know Sweet through Stryper wouldn't expect. "Taking On The World Tonight" is a fierce and rousing opener complete with a siren that carries a militant tone with a theme of fighting a world that is out to claim our souls.
"The Cause" carries a similar feeling of war, reminding us of what our true cause is. "This Time" is a definite album highlight. Serving as a softer offering, the song is boosted by a guest appearance from another iconic voice in Christian Rock, Kevin Max. The two voices mesh well together and create a strong track worthy of radio.
The album's crowning achievement is the title track and lead single "I'm Not Your Suicide." The song's verses, both musically and in vocal style, are reminiscent of a Petra song of the Schlitt era, with a chorus worthy of any Stryper album. Complete with a solid guitar solo, the song is musically a fine work of art. But the theme is what really sets it apart. Touching on the issue of our worth as children of God, the song encourages all to stand up and tell the enemy and the world that "I was sanctified / I used to feel justified / Only to be crucified, by you – by you / My life has just begun, I'm standing in the shining sun / I'm not gonna run and hide, lay down and die / No I'm not your suicide."
With suicide an extremely relevant topic in the media right now, songs like this which courageously push back against it are essential. As Christians, we always have to remember that we have eternal worth to the Creator of all things. With His grace, even those of us in the darkest depths can push back and shout to the enemy "I'm Not Your Suicide."
After two of the most stellar tracks on the album, it's not surprising that the momentum can't continue at quite the same pace, but "Coming Home" has a slightly Southern-twanged hook and softer contemporary approach that make for a solid offering. "Miles Away" picks up guitar intensity after a mellow opening and speeds to a rocking highlight that serves as another memorable cut.
Two different covers of Neil Young's "Heart of Gold" appears. This is kind of an unusual choice, but the covers are solid enough and do the song justice. "Unsuspecting" returns to the Stryper sound just in time to finish things off (minus the aforementioned encore cover) with a bang. With those 80's metal screams and bullet riffs, the song should definitely be a favorite of those who came looking for more Stryper-style offerings.
Closing Thoughts:
Michael Sweet has crafted a solid offering that mixes Stryperesque power metal sounds with softer rock stylings to produce an appealing album with several potential hits. Sweet's still at the top of his game after all these albums, and there's something special about a veteran that shows no signs of slowing down. This album blends the maturity of a seasoned veteran with the rocking accessibility of an invigorated and fresh artist.
Overall, there's so much here to love that the album becomes accessible to a wider range of potential listeners than any of Stryper's albums could. And for a solo album, that's a roaring success. If you haven't checked this album out yet, maybe you need to.
Worth the Price of Admission | Posted August-11-2014
The place? The Whiskey A Go Go club on the sunset strip of Sunset Boulevard. The music? The shredding guitar metal that defined a genre in the 80's. The band? One of the forefathers of Christian music who still know how to rock and roll. The hair? Larger than life. The voice? Iconic.
Not only did Stryper blast open sonic doors for what Christian artists could do with music, but they paved the way for the "crossover" into the mainstream for countless future acts. There's a lot of broken glass surrounding them already from all of the ceilings they shattered. But not content to be confined to the prologue of the Story of Christian Rock, the band reunited in the early 2000's and have since regularly toured and released new material. While newer acts claim the dominant spots of the industry, Stryper has proved themselves anything but a tired nostalgia fest. This release finds them offering yet another live album mixing quintessential classics with highlights from their newest studio smash, No More Hell To Pay. Live albums are a risky endeavor as it's hard to capture a band's live presence in just an audio recording, but the results here are largely successful.
From the opening metal riffs of newer hit "Legacy" to the classic metal ballad goodness of "Calling on You" to the iconic "The Rock That Makes Me Roll" to the soaring melodies of title track "No More Hell To Pay" from their last studio release to the rousing anthem "Always There For You," it's a full metal show packed with excitement. There's even the anticipatory thrill of the "one-more-song" effect before two of the band's signature songs close out the set as an encore. "To Hell With The Devil" and "Soldiers Under Command" are definitely highlights, and their militant themes make for a fine conclusion to a solid show. The energy seemed to build to these numbers, and the band was firing on all cylinders as the classics exploded out of the speakers.
Some live albums attempt to capture the feel of an arena rock show, but Stryper is content to capture the intimate feel of a small club. The guitars balance power with clarity and simplicity. They're crystal clear and drive most of the songs to their fine finishes. Michael Sweet is still at the top of his game vocally, delivering a sharp yet smooth performance for most of the show. Only a few songs find the vocals sounding a bit on the strained side, which doesn't particularly detract from the show. With minimal talking between the tracks, the songs mostly can be played alone as well. And at a healthy and generous 16 tracks, this concert is overflowing with everything Stryper. This album is well worth the price of admission.
Closing Thoughts:
It's truly a treat to hear such iconic veterans still play with a youthful energy. There's definitely a dated sound to the music, but it's played in such a fresh and vibrant way that it almost serves as a bit of a portal to another time. This is a band that shaped an industry and while they may not command it commercially like they once did, they still know all the rules for putting on an engaging metal show.
Moving Forward | Posted July-14-2014
It's not often I find myself comparing music in the Christian music industry to the score of a movie, much less an indie drama. But that's often what I felt when listening to the Forward EP, the debut project by Jonas Park and David Bollmann. Park is one of the worship leaders at International House of Prayer in Kansas City, giving him a vertical perspective which he carries into this project. The soft guitars, calm vocals, and often ethereal and mystical piano work gave a feeling that felt oddly spiritual and soothing. There were simple, prayerful lyrics layered over it.
Songs like "Oh Jesus" have little more lyrics than an already simple chorus. Other songs are slightly more fleshed out lyrically. But the standout element here is more the relaxing musical vibe the EP creates as a setting. The lyrics are always vertical, fairly standard CCM fare. "I Remember" is a solid enough opener that carries a degree of potential.
I think the limitations of the "movie score" feel become more apparent when the songs blend into each other a little too much. An album with a solid flow and songs that fit together is always a good thing. But here the songs don't always differentiate from each other too much. The songs tend to blend together as one long song rather than six separate ones. The low key feel of the music creates a sedated feel to the EP.
There are some strong moments with the strings and piano, though the lack of lyrical meat to complement them means the songs often fall short of creating an experience that is truly engaging. However, the truths in the lyrics are solid despite their simplicity, and they serve as a starting point for more developed writing from Park and Bollmann down the road.
Closing Thoughts:
With a soothing and quiet feel, the Forward EP is a surprising and unexpected offering that offers a relaxing outlet. But in terms of musical identity or memorable song structures, the album falters a bit and doesn't always offer the listener songs that will resonate long-term. Still, this proves potential for things to come from the artists as they flesh out their writing further to provide the plot for their soundtrack.
Crystal Clear Refreshment | Posted June-23-2014
Looking at the titles for the new EP from David Dunn, it'd be easy to write it off as another contemporary worship carbon copy. But don't take the easy route. This is a surprisingly fun and catchy little EP that drives home surprisingly upbeat melodies.
Opener "It Is Well" opens with poppy crooning and a danceable hook that could have come from a lot of mainstream pop hits. The vertical lyrics play as a love song to God, speaking of surrendering our wills to Him. Playing on the classic hymn, Dunn is able to give it a relevant spin. "I'm not in control but it is well with my soul" is a comforting message to hold onto when bad things happen. The song definitely has hit potential written all over it and isn't just another attempt at modernizing a hymn.
The themes of surrender continue with "Have Everything." It's appropriate to follow up a song about not being in control with a song about giving over everything to the One who is. "Today is Beautiful" does what it has to for a radio single and maintains the album's quality.
"Nothing Left" carries a bit of a Jonathan Thulin vibe at times and builds on the vertical themes established in the first three tracks. With a bit more of a danceable beat, this track also steps up the 'foot-tapping' status and proves to be another winner. "Waiting For Love" is an obligatory ballad and carries that mantle well with a solid emotional core.
Closing Thoughts:
With songs that cover a lot of different pop styles with class, David Dunn's Crystal Clear EP is a welcome surprise. Musically, it's one of the more refreshing releases I've seen this year, a far cry from the generic approach you might expect from first glance. Thematically, there also seems to be an overarching theme of surrender to Christ and letting Him call the shots. Each song seems to provide its own piece to the story of how surrender frees us.
David Dunn clearly threw all he had into this release and the potential shows. Here's hoping this is the prelude to a memorable full-length. For now, this EP will stand as a highlight of the early summer.
Taking Their Artful Place | Posted June-02-2014
Tooth & Nail Records is known for leading the way in hard rocking bands with Christian influences, but in recent years, they've sort of fallen a bit behind the frontlines as many of their artists have moved on. But since the start of this year, they've been on a bit of a signing binge and seem poised to restock their roster of incredible talent. Among the new signees is the mysterious-sounding Artifex Pereo.
Boasting a sound that fits right in with established T&N acts like I Am Empire, and with the long and outrageous titles many of the label's past acts are known for, Artifex Pereo are poised to become a staple of the label's next era. Taking an artsy approach to rock, the band blends driving guitars with dynamic melodies that range from soft and mysterious to angry and harsh.
Opening three tracks "No Stranger To Worry," "To Listen and Say Nothing," and "Hands of Penance" all exemplify the band's exciting formula. Far from simple choruses and radio-friendly bridges, the structures here are often complex and the lyrics long and deep reflections on topics relevant to our humanity.
One of the album's strengths is also the closest thing it has to a downfall. The album is so unpredictable and dynamic that it doesn't particularly resonate. There are certainly standout moments, such as the first three tracks, and the surprising piano-driven soft closer "Overview." The chorus of "To Listen And Say Nothing" carries a surprising bit of emotion. I just felt that as complex and thought-provoking as the other tracks were, very little musically stayed with me. The band is doing so much right in so many areas, but I think the blending of these areas is just somewhat off right now.
It's tough though to really find fault in art that is objectively of such a high quality. Hopefully subsequent releases will find the band able to keep what works so well in this album and better unite the strengths into a cohesive package.
Closing Thoughts:
Artifex Pereo has lyrical complexity to make many bands weep. They have driving vocals with a stunning range between soft and vicious. They can go from soft to headbanging-inducing in an instant, and they are perfectly capable of carrying an infectious tune. The worthy pieces don't always fall into a thrilling alignment, however, resulting in many of the songs not sinking in as deeply as they otherwise could. Count this as a must-hear debut from rockers to watch, though. Given a few albums to work out some of the kinks, these guys could be a true rock powerhouse.
Song to Download Now:
"To Listen And Say Nothing" (Get it on iTunes here.)
A Return To Rock Roots | Posted May-12-2014
Seventh Day Slumber has been churning out albums fairly regularly for a while now, but they've also fallen a bit off of the mainstream Christian rock radar. This is perhaps due to their decision to focus more on a rock-driven worship style for the past several releases.
While 2011's Love Came Down attempted to mix the two, Finally Awake was the last time we really got a true full-out rock record from the SDS guys. While nothing was wrong with the worship approach, those craving a follow-up to their earlier work should have plenty to love with We Are The Broken, a full-fledged rock outing and the band's debut on new label VSR Music Group.
Kicking off a pleasantly long string of catchy rockers is "Goodbye," a driving anthem about leaving behind our old sinful selves and embracing a new self in Christ. The SDS we all know and love is in full display here. There is the band's recognizable guitar-driven sound as well as overt Christ-centered lyrics, such as: "You're holding on to the past / it's only holding you back / now's the time to say goodbye."
Hearing about our sinful nature and our need for the healing of Christ isn't unique or innovative in itself of Christian bands, but SDS's style of it is definitely more explicit than many comparable acts.
The title track "We Are the Broken," offers an impossibly catchy headbanging chorus that screams for live performances and hit status. Again harkening back to familiar themes of our fallen nature and subsequent healing in Christ, the song is a quintessential Seventh Day Slumber classic.
Other rockers like "Comatose State" and "In Too Deep" do their part to accelerate the album's momentum, which is considerable seeing as there's not a true ballad until track 6 of 9 with "Trust In Me." Album closer "Skyscraper"--a remake of the Demi Lovato hit--is the other taste of the also well-known softer side of SDS.
The ballads check all the right boxes to be enjoyable but will likely stand in the shadow of the band's classic softer hits like "Caroline" or "Missing Pages." Also, at just a mere 9 tracks, the album ends up being more than a little on the short side--which is strange because earlier press releases listed 10 tracks. Still, every track is at least solid if not memorable. So while this album's lack of anything truly groundbreaking will keep it from reaching many year-end lists, it'll more than serve as another solid entry in Seventh Day Slumber's catalog.
Closing Thoughts:
For fans of the band's rockier albums, We Are The Broken is a solid return to form that offers a number of potential hits. While it feels a little bit on the safe side and lacks anything truly earth shattering, it will definitely provide listeners with another rock record to blast during the blistering summer months.
Standing Strong For Christ | Posted April-21-2014
In my review of the previous The Museum album, I expressed a desire to see the band produce music that was more identifiably theirs. As it was, the sound was good and pleasant, but it blended in too much with the CCM standard. Fast forward two years and we're given an intriguing title and album cover with What We Stand For. It gives some hope that the direction is going to be a bit more defined, both lyrically and sonically. Unfortunately, it's fairly obvious early on that the approach is fairly similar to before.
To be fair, this isn't really blameworthy. The plus side of this is that the band can be appealing and accessible to anyone familiar with the genre, and the music is enjoyable and harmless enough to be worth a listen. And the lyrics are entirely vertical and praiseworthy. I definitely see what The Museum stands for.
The title track ("What We Stand For") and songs like "Forever and Ever" do a great job at establishing a Biblical narrative firmly rooted in Christ. But the problem is that without much to stand out, there's not a strong case to go to The Museum for these uplifting worship tunes over any of the myriad of comparable acts out there. Certainly it's not an either/or proposition, but as well-done as the traditional covers of "Stronger" and "Your Love Never Fails" are, and as honest and catchy as songs like "Forever Free" and "Give Me Faith" are, most artists in the CCM have crowded these waters to the point where there's little here that's memorable in the long-term. I
t's not that anything here is bad. It's all good. It's all commendable. But there's little here to define the album or give listeners a reason to keep returning to it.
That said, I did find "Carry My Heart" to be a solid album highlight. The lyrics felt like they dug a bit deeper and the melodies reached a more emotional core: "There's a million reasons to cover my face and to hide all my fears in the dark / but I know the darkness is light to you still / so I'll press on with all that You are." And it does all this without forsaking the accessibility of the rest of the album. I'd like to see this shine through in more of future albums. The Museum has certainly shown the talent and potential. I think their music is just begging to be let free to fly.
Closing Thoughts:
The Museum has produced a record that is singable and pleasant, giving the Church another serviceable collection of songs to worship Christ with. It's just that, in the long run, they still seem to be in need of a sound that is more definitely theirs. As it is now, they fit in a little too well into the CCM mosaic. Hopefully songs like "Carry My Heart" will illuminate some bold new directions to explore and finally give the band a concrete sound to call their own.
A Breathtaking New Musical Empire | Posted April-21-2014
New Empire has been building quite the buzz around their new release, In A Breath. While not a new face to the Australian Music Scene, this album marks their debut to the U.S. market through Tooth & Nail.
Lead single "Relight The Fire" has already garnered quite a lot of attention, hitting over 1 million hits on YouTube before the signing with T&N was even announced. Standing as an album highlight, it's a rousing example of what the album has to say, offering one of the year's most singable choruses as well as savory hooks to ensure that once you hear this song, you'll probably be singing it to yourself for quite some time.
The other single, "Say It Like You Mean It," is another of the album highlights. With an opening hook that sounds pulled from something a band like Degarmo & Key did back in the late '80s, the rousing anthem is still fresh and exciting. "The Sun Won't Sleep" is another standout in the style of these.
There are a lot of musical surprises here. Be it the chilling piano intros, the sure-to-be-polarizing spoken word/rap in the bridge of "Left Behind," or even the horn-driven bridge of the title track, there are so many layers to all of these songs that it's easy to get swept away in the album's atmosphere.
There's an unavoidable likeability to every note that makes the album feel somewhat grand and groundbreaking, even if it's not really doing anything truly different or revolutionary. There are also a lot of moments where I was reminded of other artists, but in a subtle and flattering way that never felt like a rip off. Exciting album opener "Tale of Jonah" had some echoes of House of Heroes, and I even felt some softer Falling Up vibes on the crooning, piano-driven verses of "Wise Fox."
There's the aforementioned Degarmo & Key-esque hook. But most of all, at many points, lead vocalist Jeremy Fowler reminds me a lot of Joshua Pearson, vocalist of the very-much-missed Nevertheless. These are good comparisons, and not exactly the crew of influences you'd initially expect to find on one album. And they are so nuanced that it makes for an almost completely new sound, which is exciting to find in pop/rock.
The album has some legitimate emotional high points towards the end. "Left Behind" boasts an electronic veneer and the aforementioned near-rap bridge that would almost make it seem like just another pop number. But when you get to the chorus, there's an almost moving emotional quality that speaks of something deeper and would almost be at home in a memorial song. So it should come as little surprise to discover that this song was written in memory of those killed at the Boston Marathon. Now the race imagery and the chorus, before a kindly metaphor, take on deep new spiritual and human meanings.
This leads well into the personal and mellow "A Little Braver," which starts with a gentle piano hook and soft vocals before the song hits it's stride with an orchestral backing that drives the song to anthem status. "Outshine The Brightest" continues the feel appropriately and serves as a fine conclusion to the album--that is, outside of the bonus inclusion of "Relight The Fire (Acoustic)," which provides a new emotional depth to the hit.
Closing Thoughts:
New Empire definitely plays with the experience and maturity of a band with a few albums under their belt already. In A Breath a legitimate gourmet gem of an album and a definitely highlight for 2014. It's bound to draw criticism merely due to the hype surrounding it and how it might not be redefining the genre the way some might be expecting.
But from the album cover, to the ridiculously catchy hits, to the sure-to-be-classic hooks, this album just feels like one to remember. Hopefully this is the start of a long and successful US run for the Aussie band. This reviewer is certainly going to be looking forward to whatever these guys put out in the future. Especially with summer just over the horizon, this is definitely a must-hear album.
Burning Bright Like A Fire | Posted March-31-2014
There aren't too many solo artists on the Christian rock charts these days. But Devin Williams is making his ascent to the top with a sound that boasts influences from several top Christian rockers from RED to Decyfer Down to many other bands known for their catchy choruses and crunchy guitars.
In other words, Devin Williams has a sound that fits right in with Christian rock right now, with soaring guitar solos, fierce openers, choruses destined to get stuck in your head, lyrics that speak to the human struggle, and even the obligatory softer moments to balance out the chaos. And furthermore, everything he does, he does well.
Lead single "I Will Overcome" exemplifies the album's harder-edged strengths. Singing over defeating out sinful nature, the song checks all the right boxes for chart success and does it while keeping everything interesting. "Here For You" and "Greater Than Fame" do excellent jobs at tackling the slower angles. With themes of comfort and the rewards of Christ, there's a lot of depth to draw from in these musical wells.
"Like A Fire" is another album highlight singing "you can't keep this light from burning." Proclaiming our desire to never abandon the truth but rather have it light up the world, it's a rousing rocker calling us to action. The album's themes are familiar territory for rock music, but they blend well. Be it our call to live for Christ, comforting the sorrowful, or overcoming our sin, Destruction of Kings tackles several aspect of the Christian walk in a thoughtful and meaningful work of art.
Closing Thoughts:
Devin Williams knows what works in Christian rock and incorporates it all into his latest release. There's much to love here and most of the tracks seem destined for high chart peaks. There's nothing here that promises to reinvent anything in the genre, but Williams has the rock voice to drive the music home regardless. If you're into any of the popular Christian rock acts out now, give Devin Williams a listen.
JJFrancesco_NRT's Music and Book Reviews 
