Kirkley Turns Up The Dance | Posted March-21-2014
Daniel Kirkley has ridden under the CCM radar almost from Day 1 after being signed to Centricity. Then, what little name recognition he did have seemed to fade away entirely when he moved back to being an independent artist. Yet his powerful voice and poignant songs only grew with his newfound freedom and thus he remained a truly hidden gem in the crowded music field.
Recently, however, Kirkley has felt himself called to return to the field he was studying before being called to music ministry: pediatric medicine. As a result, his musical career is being put on a sort of back burner for the time being. However, Kirkley had already been hard at work on a new EP by the time this announcement came, and so the release of Limitless still went forward.
It's uncertain as of now whether this is a legitimate swan song or merely just a stopgap until something more down the road, although Kirkley has promised that he's not hanging up his piano for good. That said, the knowledge that this is likely the last studio recording we'll hear from Kirkley for at least a good while does raise the stakes a bit for the EP.
One first listen, the most immediate thing to notice is a radical sonic change of direction from anything Kirkley's done before. Perhaps, though, that's not entirely accurate. On paper, most of these songs are musically in line with what we've come to expect from Kirkley. The title track, "Limitless," while perhaps experimenting a bit in the verses, boasts a chorus that would've worked on either of Kirkley's previous studio albums.
So what's different? Well, it seems like Kirkley's taken his established Josh Groban-esque sound and added an electronic dance veneer to it. Yes, Daniel Kirkley's gone dance on us. And the result is actually fairly engaging. Songs like "I.R.L" and "Electricity and Thunder" work well with this new upbeat sound, and ballads like "Into Your Heart" also benefit from a more conservative mixing of the piano and strings we're used to from Kirkley with the dance additions.
The new style does feel a bit out-of-place at times, though. The title track feels a bit too much like a remix of itself and the song itself could've perhaps been better served from a less liberal approach to the dance applications. Also, the 8+ minute instrumental offering "Infinity + 1" goes on a bit too long and with too little variation. As a result, it definitely slows things down to the point of becoming a "skip" track.
The song Kirkley wrote for his niece, "Ella's Song" closes out the EP and feels the most Kirkley-esque both musically and lyrically. It also serves as an emotional highpoint with Kirkley's honest love for his niece carrying the song.
As a whole, the EP takes a much more mainstream tone lyrically than any of Kirkley's past efforts. In fact, it's almost an entirely secular release. While this isn't really a bad or unforgivable thing by any means, the lack of spiritual content in contrast with Kirkley's other work does stand out.
The personal relationship issues tackled in the first half aren't particular new territory for a Christian artist, but with what Kirkley proved himself capable of on Where Healing Starts, this EP sort of stands in the shadow of Kirkley's past efforts. The title track and "Ella's Song" do offer some return to the profound lyrics, but still keep things mainstream enough to avoid attracting much of an explicit "Christian" label. (i.e. "We're gonna be like the sun / shining so everyone will know we're gonna make it / there's no tying us down / our hearts off the ground / we are limitless.") It's definitely a departure for Kirkley, but it all works well enough.
Closing Thoughts:
While not Kirkley's crowning achievement, Limitless still stands as an enjoyable EP with catchy (and now danceable) tracks that should satisfy those familiar with his music as well as newcomers. Still, given the lack of depth compared to previous releases, Limitless feels more like a fun night out than the memorable and emotional musical experience Kirkley's first records were. Still, for what it is, it's a solid offering with lots of potential to build on should Kirkley ever decide to return to the studio. Here's hoping we hear from him again soon.
In Search of What Matters | Posted March-19-2014
Some bands have names that lead you to expect one kind of sound and then you play their album and are totally blown away with a musical direction that feels completely at odds with their title. Embers in Ashes is not one of those bands.
From the opening riffs of opening track, "Set Fire" the band plays pretty much how you'd expect a band with a name like Embers in Ashes to play (and with an album name like Killers & Thieves). Every song boasts intense guitar riffs that almost reach metal level at times. Perhaps the only true surprise is the consistent clean vocals. But for this reviewer, that direction was more than welcome.
With rock bands who can truly rock hard without abusing screaming vocals seeming like more and more of an endangered species in the industry, it's good to see new faces on the scene. This sophomore release is crammed with edgy-yet-melodic rock goodness from start to finish.
Aforementioned "Set Fire" proves to be a memorable rock opener. Vocally, I'm reminded of several acts both famous and obscure. This feeling remains pretty much throughout the album -- several influences but none too overbearing that it becomes a distraction. I suppose this is also a sign of a successful play for a unique sound.
A slight industrial influence sets "Into My Arms" apart as a clear album highlight and potential radio hit. An emotional and memorable chorus in "The Mirror" creates another solid highlight. "Stones," an entirely instrumental track amounts to what is essentially a wordless headbanging session. It's here where you really see the stylistic heaviness of the guitars and how much the clean vocals steer the project more into rock than metal. Given the already-slim 10-track listing, an instrumental might not play as well as it would in a longer album, but for what it is, it's well done.
A major thematic theme throughout Killers & Thieves is the brokenness of our fallen condition, and a search for more. The album's ups and downs all resonate as common struggles in our lives. From uncertainty, blindness to the truth in front of us, or difficulties in relationships, it all comes to a head in a plea for God to "breathe on me new life...wake me up inside / show me how to live / show me what it is that matters / focus every breath I take / take my life broken and tattered / remake me all for your sake." These simple pleas are so honest and heartfelt that they resonate in a way that cuts much deeper than your typical "I'm broken and I want Jesus to fix me" song. This frames everything that came before it.
Whether it's the desire for a sinner like ourselves to be with God ("Killers & Thieves"), pleas to "keep me from being buried in this self-made grave," ("Night From Day"), or calls to come back to the solace and peace of Christ ("Into My Arms," "The Mirror"), it all comes back to a heartfelt desire for God to show us "What Matters."
There's no excuse making for our shortcomings on this album. It's a personal look at the brokenness and sinfulness that are each of our lives. Christ isn't our clean-up crew, but rather our Savior and way out of the self-destructive ways that keep us from being who we truly are, from reaching our fullest potential. In this sense, it reads like a very personal diary from any Christian who takes an honest look inside their own heart's true longings. The soft melodic vocals amidst the often intense and chaotic music itself serve to round out the metaphor of this album to our lives.
Closing Thoughts:
Embers in Ashes have created a meaningful and passionate rock record that successfully executes a thoughtful blend of headbanging riffs, singable melodies, passionate vocals, and meaningful lyrics into a cohesive package. The ground tread may not be all that new, and the absence of a truly big rock chart topper may keep this album relegated to the sidelines in terms of its commercial shelf life. However, for those that do check this album out, they'll find it's a rewarding rock experience. Perhaps not destined for the tops of year-end best of charts, but it's a shining example of what your above average rock release can and should be.
This Is Mikeschair's Moment | Posted March-19-2014
Third albums are often a defining album of a band's career. Past the novelty of their debut and the scrutiny of the highly-anticipated follow-up release, the third album brings with it an intimidating mixture of expectations that are seemingly at odds with each other: the expectation to settle into your musical identity and the expectation to spread your wings and try new things. It's essentially the beginning of the main part of the story, after the opening scenes set the pace.
Mikeschair has quietly built themselves up a good numbers of radio hits and has always come off as a genuinely likable band. Their sound was CCM-safe, and Mike Grayson's honest, emotional vocals coupled with tight musicianship sold every note as something fresh and important. Their third album, All or Nothing, does well to continue the trend of mixing a light pop/rock sound with contemporary worship for that sweet spot that's become Mikeschair's signature.
The album opens with the solid hook and gang chants of title track "All or Nothing" that scream everything you love about Mikeschair. With an upbeat light rock edge, it manages to be the most engaging Mikeschair opening track yet and helps kickstart the album's momentum. The exciting anthems continue for several tracks with "Loved by You" and the peppy "Everything You Say" bringing their energy to the party.
Lead single "All I Can Do (Thank You)" is a memorable nod to how we can never truly repay God for all he's done for us and we're left with merely with our gratitude. It might feel "old" now since it's going on a year of being available, but it's nice to have the hit finally get an album to call home.
"People Like Me" is the second single and follows in the tradition of "Let The Waters Rise" and "Someone Worth Dying For." You can always count on one truly standout softer cut at around this point in a Mikeschair album and this one doesn't disappoint. Its message was designed to relate to the struggling sinner in all of us, reminding us that no matter what our circumstances, God's grace is meant for us. Its chorus boasts standout lyrics in Mikeschair's career and among the musical year thus far: "Show me a life that's broken can be redeemed / show me that you can handle my honesty / and help me to know you'll never let go / your love won't ever leave / show me that grace was made for people like me."
"How Many Times" and "Over and Over" both boast soft and engaging hooks in their openings that precede the pleasantly mellow ballads that Mikeschair has made an art out of crafting. Both songs continue the albums themes of how God's grace is always at work in our lives. At this point, what seemed to be a fairly standard album thematically definitely starts taking on a clearer picture. These aren't just vertical lyrics but rather a look at how God is there in our broken lives. "How many times have you been faithful / and how many times have you carried me / I run, I fight, I try to hide / You stay here by my side / you carry me still no matter how many times."
"Over and over you call my name / and you over and over you love me the same / even when I break your heart / you show me open arms / pulling me closer / over and over." These exemplify themes present throughout the album of how Christ is always at work in our lives and we can always come to Him. And through Him, we're made stronger.
"I Can Wait"reaches some new thematic depth for Mikeschair at declaring that God can give us the strength to wait for our problems to pass and not looking for an easy out. But perhaps one the most standout cuts is the superb "This is Our Moment." The track grabs you from the start and never lets go, proclaiming a desire to take life now and live it to the fullest in Christ. This was one of the earlier cuts fans were introduced to and it still remains one of the stronger tracks of this already strong bunch.
"All To Jesus (I Surrender)" is the softest Mikeschair has ever gotten with a quiet and introspective worship song that is backed by little more than light strings and a soothing piano hook.
I've always liked Mikeschair and this album only solidifies that more. However I did think that their previous release, A Beautiful Life, ventured a bit too much into the territory of the songs starting to sound a bit too much alike. This time around, Mikeschair improves the differentiation between their tracks and thus the album as a whole feels a lot fuller and more dynamic. There's also a lot more piano/key influence to many of the tracks, which gives a new, more delicate veneer to the approach. Songs like "This Is Our Moment" and "People Like Me" are destined to be Mikeschair classics. But the true measure of this album's quality lies not in recognizing the hits, but in seeing that every song is pulling its weight and earning it's place in the collection.
Closing Thoughts:
Mikeschair have crafted another winner that is full of potential hits from start to finish. Mikeschair masters an art few bands can do well: Pulling off a sound that is relaxed and chill without ever venturing into bland or uninspired formulaic ruts. Mikeschair's music sounds fresh, vibrant, emotional, and honest, at every point of the album. From the soaring highs of the upbeat choruses to the reflective notes of the softer tracks, All or Nothing is the kind of album you can listen to at any time to feel better. It might not crack many best-of lists due to the kind of album it is, but it's the kind of album that's never anything less than rewarding, and gives nothing less than the band's all. This is truly Mikeschair's moment and hopefully it'll be one to continue for several albums to come.
Braving The Mechanical Planet | Posted March-13-2014
It has almost become routine: a new female-fronted rock band shows up on the scene and almost immediately people are comparing them to other female-fronted rock bands, either to attack their originality or simply as an innocent attempt to liken them to established acts. Nevertheless, it's rare that such bands really get noticed for their own identity until they have several albums to their name.
This dilemma is true of all bands to some degree, but I can't help but feel that the comparisons with female-fronted rocked bands end up being a lot weaker than most. It's as if having a female singing rock songs automatically makes a band a Flyleaf wannabe. Add in strings and they are Evanescence. So with the arrival of new Word signee VERIDIA, it should come as no surprise that the comparisons have already begun. I've already heard the band likened to Icon For Hire, The Letter Black, Fireflight and Evanescence. And really, aside from perhaps a small degree of vocal resemblance of lead singer Deena Jakoub to Fireflight's Dawn Michelle (and maybe a slight moment here or there to the others), there's a lot more to them than that.
What immediately caught my eye about VERIDIA is their dynamic fusion of danceable techno-pop and rock. They still sport the ever-popular string-backed rocker with soaring chorus, but there's a lot more techno influence to this than the acts they are compared to. Jakoub's voice is unique and smooth and fits perfectly in the hybrid sound. Lead single "We Are The Brave" perfectly exemplifies all of that in a three and a half minute package. It checks all the boxes to be a smash rock hit and yet also provides something fresh in its danceable pop veneer. The song's rallying cry slamming down the devil also exemplifies the EP's themes of battle with the world around us.
After setting the bar high, the rest of the EP never lets up. "Disconnected" carries the energy forward and brings the techno sound even more to the forefront. The song itself could easily thrive on pop radio, and should lay to rest any remaining talk of VERIDIA being just another copycat of any other successful female-fronted rock band. Discussing how technology could be impeding our real-world relationships, it's a relevant and timely anthem for our day.
The strings return for the emotional ballad "Furious Love." Everything about this song is just knock-you-outta-your-chair good. Vocal delivery, powerful chorus, exciting intro, and relevant lyrics declaring a desire for the furious love of Christ, this track boasts it all. Its chorus resonates with meaning for those left burned by rejection: "You say I'm beautiful / I don't need the world's approval / only you madly pursue me and jealously tell me I'm worthy of furious love."
"Mystery of the Invisible" also carries an emotional ballad weight and sends the EP out in powerful fashion. "Mechanical Planet" again displays an expert mix of rock and dance/pop that serves as a fitting match for the themes of tech-crazy culture and our often mechanical way of treating people without regard for their humanity.
Each of the five tracks here manages to pull its own weight. Add to that interesting album art, and you have a well-rounded release that's sure to please.
Closing Thoughts:
VERIDIA's debut effort exudes talent and potential. There's already so much being done right that most claims of unoriginality should fall away with just a few listens. There's definitely anticipation aplenty for the eventual full-length release. If this is how the band begins, one can only imagine what awaits them in the future. They may perhaps not yet be at the level of intensity of the comparable industry veterans, but neither were most of them at this stage in their career. For a band just making an initial splash on the music scene, VERIDIA has hit a home run.
Building Up and Breaking Out | Posted February-02-2014
It's always great to see new bands and new record labels get a foot in the door of the often very exclusive club that is Christian music. One of the latest labels making more and more of an impact has been DREAM Records. Couple that growing presence with a band who achieved some notice in the Christian rock realm while still unsigned, and you have quite a pairing that is definitely poised to send some shockwaves through the Christian Rock realm.
Enter Sumerlin's label debut, Runaways. They already had some chart presence independently, so it's no surprise to see lead single from this project "Breaking Out" doing just that by playing with the big fish at the top of the rock charts. One of the things that first struck me about Sumerlin was an uncanny comparison to the early years of another "erlin" alternative rock act. Yes, I'm talking about Anberlin. While not exact replicas by any stretch, there was a definite similarity to Sumerlin's style with that of Anberlin circa-Blueprints for the Black Market and Never Take Friendship Personal.
Runaways doesn't do much to change this, and the title itself only strengthens the comparisons. Still, there's just enough here to give Sumerlin their own musical identity, and with Anberlin poised to leave a huge void after 2014, these comparisons may give Sumerlin a window to step into the role as a prime alternative rock headliner.
Rocking opener "Heartbeat" immediately catches the ear with a sweet spot between crunchy, rocking guitars and an emotional and melodic chorus with top-notch vocal delivery. This sets the tone for the album, as most of the songs follow this pattern.
This creates a bit of a Catch-22 for Sumerlin. On one hand, it creates a bit of a diversity issue with the album at times that leads to a degree of predictability. On the other hand, Sumerlin does what they do so well that each of those songs is a potential hit in one format or another, and thus the collection still remains an exciting batch of rock hits that could bring them lots of success given the right exposure.
Aforementioned "Breaking Out" is already proving a solid hit, and with a strong message about God "breaking me out of myself," it's got plenty of thematic meat to it, which holds true for most of the album.
"Speak Up, Speak Out" is arguably one of the more blatant Anberlin influences, both musically and to a degree lyrically (the lyrics also hold striking references to themes explored by Red and Skillet). Yet it also stands as the most memorable track of the bunch. The song boasts a rocking and catchy chorus in "We created a monster / spreading this disease / and I can't let go / someone stop this please before it takes control of me." The song is effective in conveying the destructive impact our actions can have on our relationships and our lives, but it offers hope in the bridge lyric "Take it back / this is your life." Songs like these hold the promise of keeping Sumerlin a regular presence on the charts for some time.
There are also some stylistic surprises here. The softer tunes such as "Voices" and "You Always Were" open opportunities for Sumerlin to appeal to a crowd who typically wouldn't get in to a harder rock sound. With choruses that are often worshipful, Sumerlin's appeal to Christians in particular could be a lot more defined than the more subtle spiritual wordings of many other bands with similar sounds.
This is an album that resounds with clear and distinct meaning with little left to mysterious ambiguities and varying interpretations. Runaways is essentially an album of coming home, of finding your identity in Christ again. Each of the songs seeks to illuminate a path for us to get back to the person we are supposed to be, to stop being a runaway. Sumerlin may prove themselves capable of having the best of both the alternative rock sound and meaningful lyrics.
Closing Thoughts:
Sumerlin has crafted an album that promises to excite and thrill listeners. While the similarities to Anberlin are undeniable, I'm not convinced these comparisons are necessarily a bad thing. They could even work in Sumerlin's favor given the fondness many have for Anberlin.
While Sumerlin is doing everything right, they are still missing a bit of their own distinct magic that has solidified the bands they draw comparisons to as the heavyweights in their genre. But even those acts didn't typically find that "something" on their first few albums. With the talent Sumerlin demonstrates here, there's every reason to believe that they are capable of producing that album. So while I don't think this will be the album of Sumerlin's career, it's definitely one that gives them a blistering, building momentum towards making the album that will truly cement itself as a classic of its genre generation.
Sonic Sampler | Posted January-12-2014
With a commanding rock voice that would sound at home on many a rock album, Jake Hamilton has opted to start 2014 with a release that offers quite the eclectic smorgasbord of musical styles.
Some of the more overt rock styles are quite noticeable in the straightforward worshipful openers "Behold God Is Great" and "I Love Your Presence." There's a definite energy to these that helps lyrics that would otherwise come off as overly safe feel a lot more fitting.
The title track and "Just Beyond The Breaking" offer a softer sound that is quite the contrast to the openers, and the lyrical depth also digs a bit deeper to help create some more well-rounded and emotional moments. "All I can offer is skin and bone to the greatest love I've ever known" stands as one of the more poignant and resonating lyrical moments on the album.
"The Father's Song" continues this trend with a soothing guitar riff that carries quite the rural feel. The song is effective in conveying a desire to be close with God that fits in well with the praising lyrics of other cuts. It's in moments like these that the album feels like it's the most honest and meaty.
But Hamilton doesn't stay too long in the soft ballad territory, revving up the rock for the remainder of the album. "My Ballad to the Church of Laodocea" shines the brightest of the bunch with a memorable melodic chorus and some industrial hooks that call to mind some of the older Skillet material.
The themes of the album are constantly vertical and fairly straightforward in their approach. The album never falters in its focus on God and doesn't particularly demand much interpretation from listeners, instead opting to encourage and remind of Biblical truths.
Closing Thoughts:
While the album does feel a bit uneven at times, with the softer materials feeling very clustered together amidst the more edgy cuts, such things are secondary to the admirable craftsmanship that has gone into each of the tracks and to the honest cries of praise that echo with every note.
Jake Hamilton blends influences from a myriad of sources, from modern rock to contemporary worship to southern ballads, to create a fairly consistent sound that feels familiar and yet still fresh. The album is definitely solid and varied enough to keep things interesting throughout.
An Album To Successfully Capture That Spirit of Christmas | Posted November-19-2013
Christmas is the time for year for being with the ones you love, and also for listening to your favorite artists try their hands at Christmas music. It's one of the few times where songs covered by hundreds of artists before can still have a fresh outlook and mainstream appeal.
It's become almost a right of passage for an artist to release some sort of Christmas album or EP after so many years active in the biz. Every autumn, we're flooded with the latest entrants, producing mixed results of classics and forgettable money grabs.
While many artists are doing these releases quite early in their careers, sometimes you find an artist who has been doing this for quite a while, and yet only now is getting around to a Christmas recording. And so is the case with John Schlitt, whose new, fan-funded release, The Christmas Project, is finally seeing the light of day.
John Schlitt is something of a legend in the Christian rock world. Taking a 180 through Christ from a destructive drug-driven secular rock life, he soon found himself stepping into the vacated role of lead singer for one of the premier bands of the Christian rock movement, the iconic Petra. For almost two decades, Schlitt provided the arena rock vocals that helped define that era of the band. Yet, neither before nor during the Schlitt era, did Petra have a legitimate Christmas release (beyond a single song on an early album).
Thus, when Schlitt announced that he was starting a Kickstarter to fund a Christmas project (and later had it fully funded), it promised to offer at least a glimpse into what a Christmas release from the legendary band might sound like, even if it was technically still a solo project of one of its lead singers.
The album starts off intriguing with a cover of Handel's "Hallelujah Chorus." For a few seconds, you might get the impression that Schlitt's going to throw us a curveball and give us a fairly traditional "safe for your Grandma" rendition. Then a few seconds later, Schlitt's signature arena rock power storms into the song and takes it to a new level. While there are a few moments where Schlitt is clearly stretching his vocals a bit to hit some of the song's demanding higher notes, the track as a whole is a rock-up and revitalized version of the classic that appropriately sets the tone for what you can expect from this album.
One of the issues with many Christmas releases that I have is the lack of original material in favor of covers of classics that don't really offering anything new or memorable. At first glance at the selection from this album, one might fear it'd fall into the same category. Luckily, the unmatched and recognizable Schlitt style is on full display almost the entire time, and thus these classics feel energized and amped up in a way that most modern covers never even aspire to. Schlitt offers some above-average renditions of several classics, from an orchestrated "God Rest Ye Merry Gentlemen," to a stripped down, piano-driven "What Child Is This," to an appropriately subdued choral take on "O Holy Night." While the aforementioned are clearly highlights above other traditional cuts, there's not a weak offering to be found as Schlitt keeps things interesting at all times. There's intricate piano backings, orchestral string elements, and of course a lot of slamming guitar fun. What more can you really ask for?
Of course, few Christmas albums are complete with only traditional offerings. Thus, Schlitt adds two more notable entries into the 10-track listing. The first is a cover of a somewhat lesser known original of the season, Ray Charles' "That Spirit of Christmas." While not the staple of holiday radio airplay that many other classics have become, the song is still arguably a memorable part of the culture's annual Christmas traditions, due to being featured in the movie, National Lampoon's Christmas Vacation.
Yes, this is a cover of that song playing while Clark is watching old home Christmas movies on the door of his attic. Schlitt's rendition is faithful and safe, but due to the song not being overdone like some certain other Christmas hits from a few decades back have been, it's a refreshing and welcome addition. It also wields some of the stronger and more nostalgic lyrics of originals of decades past, "Listening to a children's choir / Singing songs about Jesus / The blessed way that he came to us / Why can't it remain / All through the year." Overall, this turned out to be a fitting choice for Schlitt to cover and it's good to finally hear some artists venturing outside of the popular "safe" choices.
Tucked in at the second-to-last track is the album's sole (but increasingly obligatory) original, "What Christmas Needs To Be." The song strikes a solid balance between sounding fresh and contemporary and yet still possessing a classic vibe. The title's obvious theme about getting Christmas back to what it really should be is fitting and plays out in an honest and straightforward way. Lyrically, the song offers a relatable longing for simpler Christmases, "It's Christmas now / the gift of heaven given / love can be found / in every heart that hears it / a baby crowned / the hope of our salvation… / is what Christmas needs to be." It's a worthy message, and one worth repeating in our increasingly hyper-secularized culture.
Closing Thoughts:
John Schlitt's first Christmas offering is the picture of a success. It offers rocking covers of classic carols, a solid original, and a revitalized take on a lesser-known classic. It keeps the listener engaged with cinematic and nostalgic musical directions, and never veers off into filler. And most importantly, it keeps Christ the focus throughout. While not technically a Petra Christmas album, Schlitt's vocals have become so intertwined with the band's last two decades that it's easy to see this as close to what a Petra Christmas album could've sounded like. Still, regardless of his ties to the past, Schlitt's an artist that has enough presence to make an impact on Christmas music playlists across genres. Whether you're a fan of his past work or not, this is definitely a Christmas release worth your ears this Christmas season, and Christmas seasons to come.
Song to Download Now:
"What Christmas Needs To Be" (Find the song/album on iTunes here.)
Another Entry in the Stryper Saga | Posted October-28-2013
Just about anybody who knows even a little about the history of Christian Rock music probably at least knows the name Stryper. Along with other bands like Petra, they were one of the forefathers of the genre, and their name is among the most legendary in the chronicles of Christian Rock. Furthermore, they were the first band to become a genuine "crossover" into the mainstream, gaining notable success on several mainstream music charts and getting massive airplay on MTV.
They were even among the first bands to get the now infamous criticism from many Christians for "selling out." They caused controversy when they departed from their Christ-centric lyrics with the release of Against The Law. Their 80s glam-metal appearance earned them accusations of not upholding the Christian standard of modesty. Stryper was a pioneer in so many areas that many of the Christians bands in the decades to come would come to learn very well.
Stryper disbanded in the early 90s and lead vocalist Michael Sweet pursued other projects for over a decade, including maintaining a strong CCM presence as a solo artist. But not content to remain merely a star of the early chapters of Christian Rock, the band had a comeback in the mid-2000's with the aptly titled Reborn. What could have been a one-off reunion turned into another extended chapter of the band's career. They've released albums fairly consistently since then, nearly doubling their discography in just the past 8 years. While their success is a lot tamer due to the dated nature of their sound and the increased competition from bands who owe so much to them, they've managed to once again make themselves a strong and relevant part of the current industry.
And so this brings us to the band's latest metal offering, No More Hell To Pay. From the title, to the album color, to the classic yellow and black logo, you can tell before you hear a single note that what you're about to get into is very much Stryper. I personally only had a modest exposure to their music growing up. They were more a name I knew well rather than an artist I heard regularly. Still, I was a little more than familiar with their style of glam metal and Sweet's iconic 80s metal vocals. And as the opening track pounded in, metal guitars blazing, it was clear that Stryper wasn't about to throw us a sonic curveball with this release. They know what their fans want, they know what their corner of the market is, and they know how to craft a well-rounded album in this genre.
"Revelation" is exactly what I'd expect from Stryper, and this feeling continues right through until the last track. At this stage in their career, it's likely unsurprising that Stryper isn't looking to reinvent themselves. They're doing what they've always done, and doing it well. The aforementioned "Revelation" carries a polished and rocking backing, complete with soaring chorus, nostalgic solos, and rousing choral vocals. Essentially, it's Stryper. "There's a revelation / it's coming down for you / without hesitation / it's gonna bring the truth" serve as quintessential Stryper lyrics. And then the title track comes in and the feeling starts all over again. Headbanging 80s metal sound, soaring choral vocals, and the lyrics that pointed many to Christ throughout the 80s: "When the night has stolen everyday / I'll follow You till there's no more hell to pay!" While the Stryper formula isn't going to win them fans outside their genre, there's something to be said for knowing your base and giving them exactly what they want. And on that front, this album goes out of its way to deliver.
This isn't to say the album has no variance at all. "Saved By Love" adds in a faster and slightly scream-heavy veneer to the Stryper sound. A cover of Arthur Reid Reynolds' classic "Jesus Is Just Alright" sounds exactly like you'd think a Stryper cover of the song would sound and offers some levity against some of the heavier themes present in the album. "The One" is the album's obligatory "slow song" and offers a good counterbalance to power metal chords dominating the rest of the album.
"Marching Into Battle" sounds exactly like its title implies and thematically, it fits right in with everything about Stryper. The song's chanted chorus offers an almost haunting vibe, contrasting with the soaring power choruses most of the other songs boast. "Te Amo" (translated, "I Love You") keeps the momentum going and stands as one of the more memorable tracks on the album. The chorus feels dated but in a throwback, exciting kind of way. Like most of the album, it would've fit seamlessly into 80's radio, but there's still plenty to enjoy for those willing to overlook the obvious era it's harkening back to.
"Sticks and Stones" makes a bit too much blatant use of the iconic statement, but puts it to good thematic use as only Stryper could. The last three tracks essentially continue the same feeling established throughout the album. There isn't really anything that stands out, but that can be a good thing as well since there's also nothing particularly weak either. The Stryper formula propels the album towards a satisfying finish, offering just enough diversity to avoid stagnancy, and never flinching in its polished delivery of a sound that serves as one of the foundation blocks of the industry we love.
It's good to see veteran bands still willing to get out there and rock, proudly donning the sound they made iconic and not trying to change who they are for profit. This might limit Stryper's appeal to those into the power/glam metal sound, but it's a sound that worked well for them in its heyday, and isn't entirely without merit now. With an album that still manages to check all the right boxes after all these years, it's hard not to root for these guys to keep on going. The rock hasn't died, and this album is proof that this industry icon still demands respect.
Closing Thoughts:
From start to finish, what you're getting here is essentially the picture of an ideal Stryper album. If you're familiar with them, you're about to be gifted with a solid offering from start to finish. Fans other bands like Theocracy would do well to give the power chords and guitar energy of Stryper a chance. Even those like me who only had a sort of acquaintanceship with the band can appreciate this release. It's definitely like a lost treasure out of a time capsule of another era, but it brings with it an energy and craftsmanship that should still be an example for many acts today.
Rising to Solidify Their Distinguished Musical Identity | Posted October-26-2013 A project which started as a worship team of highschoolers has now become one of the stronger worship talents on the music scene. Warr Acres describes their musical offerings as eclectic and their new album, Hope Will Rise, certainly exemplifies this right from the start with very varied musical offerings that sample several different brands of an accessible pop sound.
"Pulse" gets things kicking with some exciting energy and goes a long way towards launching the album as a whole. It wields one of the album's stronger and more catchy choruses that will be great for concerts. It also flawlessly demonstrates that you can definitely mix worshipful lyrics and impossibly catchy melodies, as exemplified in the chorus: "We sing your greatness and your fame / Our lives are anchored in your name / We join the heavens with our song / And all the earth will sing along."
"Freedom Fall" steers the album in a more electronic musical direction that carries quite a different feel than the opener. Already, it's clear that Warr Acres isn't going to let themselves be too pinned down to any one genre. The electronic beat creates quite a fun radio-ready track that is both Christ-centric and danceable. A guest spot by one of the most promising new artists in Christian music, Jonathan Thulin, helps to really make this track a standout on the album. It's also got some honest and encouraging lyrics to guide Christians through difficult moments in life, as it reminds us "Your hope is hiding here / In the midst of a list of our faults and fears / Your love is covering / All the pain and the shame of suffering." With two tracks as strong as these leading the album, it's definitely a successful play to grab the listener's ears.
Track 3, "Light Up The Night," again shifts the style with a poppy whistle beat that eventually evolves into a more traditional contemporary pop chorus. "Beautifully Complete" continues the trend of refusing to stay close to the style of the preceeding track. This track carries some more orchestral backing and plays as a more familiar type of contemporary radio hit. The song seems built for success and powerful concert performances, and simple lyrics like "When I'm found in You, I am beautifully complete" manage to take a simple and common truth commonly expressed in Christian music and make it resound with passion and meaning.
"This Beautiful Life" finally seems to offer some sort of settling of style for the album, having shades of several of the previous tracks and feeling like a fairly safe pop offering that keeps the album's pace without feeling the need to introduce yet another style. This is good, since too many different styles in one album could have let to a disjointed feeling and this song goes a long way to offering some consistency.
Lead single "Hope Will Rise" returns to the soft contemporary style. While it starts fairly subdued, it eventually finds it's wings and takes off into a more soaring and memorable cut on the album, complete with a "Nothing But The Blood" interlude that is pulled off in an almost haunting and spine-tingling way that serves to complete the song.
"So Much Greater" is another album highlight with a familiar but still catchy chorus that again pleads for radio exposure and Church service inclusions. Musically, it also boasts some light rock moments and just a hint of orchestral backing to help it feel like an offering that is truly aiming for it's full potential. There's even some saxophone on the bridge that harkens back to the album's diverse musical identity.
"All Around" does well at blending some of the electronic side and the pop side together into quite an accessible track, but it does lack some of the punch of the first half of the album. For a moment, it does feel a bit like the album is losing steam. But the soothing piano intro to "Psalm 27" and the hymn-like progression of the verses definitely help to get things feeling back on track. It's orchestral instrumentation carries an almost cinematic feel to it and the musical outro penetrates deep into the soul. I could have been happy with a whole track of that. This would've also made quite a strong closer to the album, but there are still three tracks left.
So they've obviously saved the best for last, right? Well, "Nobody Else" definitely keeps things interesting. There's a soothing piano backing to what is ultimately a very personal and emotional song praising God on a deeper level than is often seen in worship music: "All I have is Yours / I give it up / I want you more / You are all I have when all else fails / You're my cure." The song plays almost like a love ballad that could close out a movie or an episode of a television drama. The bridge begins to add in some intriguing distortion that explodes into a climactic and soaring finale with choral vocals and intense melodies. Again, this too could have served as a terrific finale, perhaps even stronger than previous track. With the ante seemingly upped every song as the album winds down, there's definitely a feeling of excitement as to just what the band has planned for the actual finale.
Alas, "Linger" doesn't deliver as well as the previous two tracks in this department. It's definitely a beautiful track musically and is lyrically at least on par with most of the album thus far. It just feels to make the album linger a tad more than it should, which felt like an issue on a few songs on the second half. At 14 tracks, it sometimes does feel like the album might have been better served if it were a cut or two shorter.
"Here At Your Feet" is a slow-building song that gets gradually more intense with choral chants coming in the latter half, building towards a crescendo of a finish. It's definitely a satisfying closer in and of itself, but it does feel a bit overshadowed by some of the songs a few tracks back. Given the anticipation building through those tracks, I think the finale could have and should have been stronger, even if it meant a bit of a track re-ordering. Still, that aside, the song serves as a worthy conclusion to a fine collection of worship songs.
Closing Thoughts:
Warr Acres have taken your more traditional radio-ready worship music and, for the most part, put an eclectic variety of spins on it. From some engaging pop and light rock, to danceable electronic offerings, to cinematic emotional ballads, they've managed to show themselves a talented and diverse group capable of reaching a wide audience with their unflinching Christ-centric message. This is definitely a group to keep your eye on. Who knows what kinds of gems they could put out in the future with an album like this to build on!
A Fusion of Passion and Praise | Posted October-08-2013
Fuzed Worship formed as the result of an unlikely partnership between Daniel Meyer and Nate Edmonds. Meyer had written lyrics about the injustice he'd seen traveling the world and had asked Edmonds to come back into music to put them to music. The two immediately clicked and thus were the humble beginnings of Fuzed Worship.
The group has grown by several members since, with a mission to make music that transcends simple music to make a difference to hurting people. Now partnered with Joyce Meyer Ministries, the group leads worship at several of the organization's conferences, eagerly hoping to shine a light that will point people to Christ.
The group's third project, the By Your Blood EP, offers a worthy look into just what this act is capable of. Opening track "Forever You Reign" offers a solid pop/rock worship offering that has surprisingly upbeat and poppy instrumentation, and it definitely helps flesh out the track into feeling fuller and more lush than you might expect based on the title alone. "God Is Able" follows in similar fashion, offering a worthy message about the limitless of what God can do for us, with soaring melodies that carry the message to new heights. The music hits a sweet spot between catchy melodies and creating an uplifting atmosphere of worship, which is fitting given their chosen name. By this point, it's clear that the band's attempt to reach young people and bringing them closer to God is well-served by their rousing musical offerings.
The title track shows a slower and more intimate side to Fuzed. "By your blood / we overcome / we are wrapped up in Your loving arms" serves as a passionate moment of praise that can be viewed as sort of a caption for the entire EP, reiterating the simple Biblical truth to give context to all of the other worship. For even the praise we give to Christ is only possible by His grace.
"My Heart Burns For You" carries a sort of ballad-esque feel to it with its soft, piano-driven chorus and heartfelt cry of love for our Savior. With an intricate string backing lifting up the keys, the music can almost carry you away into a transcending worship experience. The lyrics cover well-tred territory, but the vocals and music make it feel like it's hitting your ears for the first time. Count this one up as another success for Fuzed. "Lost in You"meanwhile takes a fairly traditional approach to a straight-forward worship song, proclaiming, "Your glory as I bow at your throne / Your mercy washing over me / Your beauty captivating my soul / 'til I'm lost in you." The choral high point of the song is a strong way to close out the EP and leaves the listener with a Christ-centric impression and a deeply authentic appreciation for the greatness of our God. There's a certain genuine quality to all of the songs here that serve as a uniting glue to keep the listener engaged from start to finish.
Closing Thoughts:
Fuzed states that their passion is to create something that is more than music and this EP is a large step towards a solid "mission accomplished." With uplifting lyrics, passionate melodies, tight vocals, and an unflinching focus on Christ, the By Your Blood EP is a success on all fronts.
JJFrancesco_NRT's Music and Book Reviews 
