Marc Shows He Can Stand On His Own | Posted February-11-2013
Thousand of us "Downhomies" were heartbroken, if not understanding, when Downhere announced their semi-retirement last year. But news of co-lead vocalist Marc Martel's solo EP had already been floating around for a few months, and so we at least had that to anticipate.
Since auditioning for and eventually winning the lead singer gig in the official Queen tribute band, Marc Martel has gained some popularity. It was only natural that he'd try and stretch his wings a bit with a solo project.
He gave us a taste last year with "Up in the Air." That song is included here and leads nicely into what is an outstanding five-track pop collection, The Prelude EP. (I have a separate review for the "Up in the AIr" that you can read here.) The music is still very much what you'd expect from Marc Martel: soaring melodies to match his signature vocals, catchy beats, and honest lyrics. While Downhere fans will quickly miss the complementary effect Jason Germain brought to the music, Marc has proven that he can more than stand on his own.
One thing to note is that the songs here are "secular" in that they are about human relationships. But there is nothing objectionable about anything here. So there's really little to worry about.
The aforementioned track leads into the incredibly catchy "Our Love Remains" that you just know you're going to love from the opening notes. It's just an all-around great pop song. "Perfect World" follows with a laid-back Sunday afternoon feel to it. But it picks up as the song goes and is hardly a weak point on the album. By this point, I think it's clear that Marc is trying new things, and it's working out pretty well.
Next up is "8th Wonder" and darn if it isn't one of the most soaring and catchy choruses Marc Martel's belted out yet. It's just really fun to sing along to. Try it. You'll love it. "Believe" rounds out the EP with an accessible and enjoyable melody.
All of these songs are relationship-based and the lyrics are clever, if safe and a bit cheesy. ("I got so much love for you / you're the world's eighth wonder / undeniable miracle" or "Every cloud I see's a little bit heavier to me / now that I've seen it / every yesterday's a little bit further away / now that I've seen that perfect world.") However, none of it ever wanders into anything too bad.
Marc Martel has a knack for finding that perfect balance to keep a song poetic and beautiful without going too far. Marc's always been a master songwriter, and while his work with Downhere is lyrically superior, I think he's shown that he can write very well outside of his comfort zone.
One good thing about this EP is that it is likely to make you incredibly happy. Its joyful melodies are really uplifting and exciting. Marc Martel's got a voice that makes you believe every note he sings and carries songs effortlessly. It's hard not to get this good feeling when you listen to anything by Downhere, and this EP by Martel has a similar feeling (especially "8th Wonder"). This comes highly recommended for those dreary, rainy days.
Closing Thoughts:
Marc Martel has released a strong debut EP full of enjoyable pop melodies and strong and passionate vocals. There's really not a moment on the project that isn't pure gold. It might lack the spiritual depth of Downhere, but it's a positive alternative to the flawed secular pop genre. I'd put any of these songs against what's playing on mainstream radio any day. So sit back and enjoy. (And wait for the forthcoming full-length release.) This is music that deserves more attention than it's getting.
Plumb Delivers a Dynamic Punch | Posted January-28-2013
It's been quite a long time since the last full-length album by popular crossover artist Plumb released. It's been more than five years, to be exact, since 2007's Blink. And since that was a softer, lullaby approach. It's been a full seven years since 2006's Chaotic Resolve when we last had a Plumb album like what we've come to expect from Tiffany Arbuckle Lee. Sure, we've had a greatest hits collection with some terrific singles, but no complete album.
Over the past few years, this long-awaited release has been teased through clips and radio singles. It's been delayed I don't know how many times, and has even undergone a name change after the tragedy at Sandy Hook Elementary. However, after what seems like forever, Need You Now finally seems like it will make it to the hands of eager fans.
Now the question is: does it live up to all the hype built by the long wait? Definitely.
In 2011 and 2012 respectively, Plumb released "Drifting" and the title track as singles from the album. The former is a catchy radio song featuring the familiar vocals of Jars of Clay's Dan Hastletine. The two sound great together and the track almost feels old now since it's well over a year old. But it's a great song nonetheless and it's great that it finally has an album it can call home.
As for "Need You Now," and I am sure radio fans will agree… WOW! It's truly one of the most emotional and powerful tunes that Plumb has ever released, and that's saying something given the track record of amazing emotional ballads. But this song just takes that power and runs with it to a whole new level.
Plumb's vocals slam into your ears with an emotional power that makes every word resonate as an honest and heartfelt prayer. "How many times have you heard me cry out 'God please take this' / How many times have you given me strength to just keep breathing / Oh, I need you / God I need you now."
It's one of the most powerful choruses on the radio in recent years and one of the best songs released in 2012. It certainly merits being upgraded to the title track and still stands as an album highlight amidst a great album.
As for the new material, there's plenty of it, and it's quite varied. (I expect most of these songs will find new life in future remixes that Plumb songs are famous for becoming.) "Invisible" opens the record with a guitar-driven kick and the song itself is dark and mysterious. "Cage" brings the rock back towards the end of the album. This was the first song listeners got a preview to more than two years ago now.
Of course the real gems come in the form of the emotional ballads. "I Want You Here" is a heartbreaking song about the loss of a child and I suppose it fits into the tradition of "Boys Don't Cry" and "Cut" from earlier releases, dealing with deep emotional issues in an honest first-person account. The song itself feels heartbreaking in its honest portrayal of that unimaginable pain and Plumb's vocals meet the tough task of selling it too. I think given the aforementioned recent tragedy in Newtown, Conn., the lyrics carry a relevant weight. This and the title track are intense portrayals of crying out for God in the midst of trials.
It's not all glum though. "Say Your Name" and "I Don't Deserve You" are also terrific and emotional musical journeys with great melodies and vocals. There are truly a lot of potential hits here. Plumb does an excellent job with balancing radio friendliness with amazing music.
"Beautiful," "One Drop," "Unlovable," and "At Arm's Length" all add their musical touches to a terrific selection of great emotional music. "At Arm's Length" builds slowly into an emotional and epic finish. (I don't know why the quieter first half of the song has a "closing moments of a television drama" vibe to me.) The musical journey through this album is memorable and rewarding. With so many great songs, this album is already set this as one of 2013's most promising releases.
I suppose if there were a misstep, it'd be the quirky "Chocolate & Ice Cream." It's not a bad song by any means. It's peppy and likable. However, sandwiched between the powerful title track and the rousing "I Don't Deserve You," it sort of feels like the odd song out. The heavy themes and emotional delivery of the rest of the songs in the album feel like they lead into each other and belong together. While I suppose this does offer a happy counterbalance to the others, I do feel it sort of breaks up the emotional momentum. Perhaps it might have fared better being released as a B-side, as it is still a very good song.
Closing Thoughts:
Can I say "WOW" again? Plumb's really knocked this out of the park. The music is packed with a myriad of different emotions and Plumb sells all of it with passionate vocals. The music is top-notch and the lyrics honest. There's really little more you could ask for in music. The sound's very accessible. I'd bet this album could easily appeal to fans of top-selling mainstream pop, while still being more than pleasing to those of us who like some lyrical meat in our music. Start to finish, this latest album from Plumb is pretty darn amazing.
Planetshakers Makes A Little Rumbling | Posted January-14-2013
Planetshakers is a youth movement that has grown into somewhat of a phenomenon. Their target demographic is apparent very early in their latest (record live) record, Limitless. There's an undeniable infectious energy to most of the tracks that should be quite appealing to the younger crowd. This is definitely the kind of music that sounds pretty good played before arenas of young Christians joining in worship. And there's also a good mix of the faster and slower tracks to keep the variety on the record solid.
"Let Praise Awaken" and the title track ("Limitless") are great anthems in the early half of the album that have a good radio appeal and accessible sound that still keeps the lyrics meaningful: "You are faithful, and Youʼre able to do anything / So I trust You, never doubt You / Cause You hold it all / Every day of my life Iʼll praise You / Every moment Iʼll bless Your name / You have given me love unfailing." Another great phrase sings: "I'm saying goodbye to any limitation / I'm saying hello to the God of all creation."
"Great is Your Love" takes a more reflective nature and offers a sonic balance to the faster tracks. There are more of these in the latter half of the album.
Musically, there's a lot of good stuff here. There's some good guitar work throughout the faster tracks and strategically placed strings help elevate other tracks. There are some good beats, rousing cheers, and soft moments of inspiration. There are soft verses and soaring choruses. Pretty much everything and a little bit of the kitchen sink are tossed into here but it never sounds too overloaded. Planetshakers seemed to actually follow the recipe for good worship music to the tee. The balance between all of the sounds is pulled off quite effectively.
There's really not much to complain about. You pretty much know going into Planetshakers what kind of music they produce, and for what they produce, it's a pretty exceptional result.
Closing Thoughts:
Planetshakers succeeds in making an accessible and appealing-to-youth album full of catchy songs glorifying Christ our Savior. The music's safe and catchy, and often musically rewarding. It's a pleasantly surprising musical offering.
Daniel Kirkley Offers A Nostalgic Christmas Listen | Posted November-12-2012
Daniel Kirkley's full-length Christmas release has been anticipated for quite a while now and this Christmas season, Love is Christmas is finally here for our listening pleasure. The 11-track release does well at offering a fairly varied collection of holiday tracks that effectively capture the mood of the season.
The album opens with an almost modern Bing Crosby feel as Kirkley covers the popular "It's Beginning To Look A Lot Like Christmas." The song is a bit slower than one might expect (even from a contemporary artist such as Kirkley) but it still carries a very Christmassy feel and is a fine cover of the classic that is both refreshing and nostalgic. Kirkley's touch to the song is fitting and sets the mood for the rest of the album.
"Let It Snow, Let It Snow, Let It Snow" continues a similar feel but appropriately picks up the speed. The sound on this one is bigger and more foot-tapping. The horn backing is catchy and helps round out a fine cover of the song. The only complaint is that it's almost over before it begins, clocking in at less than 2 minutes.
"Light a Candle"--made popular by Christian contemporary vocal band Avalon--feels almost like something off of a collaborative compilation of some sort with guest vocalists Rachel Potter and Marty Thomas having a prominent vocal presence on the track. The song is strong, uplifting, and an album highlight. It's message is pretty good too, calling us to remember those less fortunate than we are during the Christmas season: "light a candle / for the old man who sits staring / out a frosty windowpane / light a candle / for the woman who is lonely / and every Christmas is the same / for the children who need / more than presents can bring." It's truly an inspiring track that has an accessible melody.
"Joy To The World" really kicks things up with the piano-driven music power that Kirkley is known for. With a choir back-up to a rousing performance, it's a memorable rendition. The track weaves in "Hark the Herald Angels Sing", and loses just a tad of steam in the process, and only for just a few moments. Kirkley's passionate vocals and the choir help keep the track stirring and exciting.
"Sacred Medley" is exactly what it sounds like, a medley of popular Christ-centric Christmas songs. Kirkley's captivating and powerful voice fits well with every track chosen and he gives each an inspirational and emotional spin. Even without changing the melodies, Kirkley manages to make each his own. I almost wish Kirkley developed some of these a little bit more as some of the songs don't get as much time to shine as they should due to being part of a medley. (Even with the medley being generous in length at over 6 minutes) On the other hand, with many of these songs being overused in Christmas albums as it is, it's understandable to put them together in a 1-track medley.
The title track ("Love is Christmas") is next and is definitely another album highlight. With some almost chanted backup and a soothing vocal hook, the track has a peaceful and yet stirring feel to it that truly brings home the Christmas vibe. It also comes with a relevant holiday message about love not coming in the commercial packages the world likes to associate with Christmas: "I don't care if the house is packed / Or the strings of light are broken / I don't care if the gifts are wrapped / Or there's nothing here to open / Love is not a toy/and no paper will conceal it / Love is simply joy that I'm home."
Kirkley follows with a cover of Mariah Carey's "All I Want For Christmas," in a rendition that is again bit slower than we're probably used to. Still, Kirkley's voice adds an effective touch to the pop track, making it more than his own. "The Christmas Song" is done in a fairly familiar way but the song fits well with Kirkley's voice.
And of course, what Christmas album would be complete without "O Holy Night"? I have to be nearing twenty different renditions of this song on my Christmas playlist now. Kirkley does well with the track, choosing a more laid back approach to it instead of going the dramatic route like so many others do. I suppose it's actually a nice and welcome change.
A cover of "Have Yourself A Merry Little Christmas" is next. Kirkley covered this song once before on Centricity Records' under-appreciated compilation Bethlehem Skyline. I must say that I do prefer that one. This one is good too and there's nothing at all wrong with it. Despite the preference for the other, I do understand why Kirkley chose to start fresh instead of digging out something older.
The album closes with the song Kirkley released last Christmas, "Amazing Grace (A Christmas Story)." No, it's not a cover of the popular hymn. It's a powerful ballad detailing the birth of Christ in relation to our lives today. It's actually my favorite track of the bunch, packing the most punch out of all of the standouts that came before it, and sending out the album strong. With lyrics like, "What you gave was amazing / Hope for every man / No one thought that a baby / Could bring Your joy to world / It all started with a silent night / A gift that set the world on fire / That first Christmas you gave amazing grace."
And then the album ends, and you can't help but want to start it again to keep the Christmassy feel going.
Closing Thoughts:
Daniel Kirkley has crafted a strong and uplifting Christmas release. The content is a tad lopsided towards the mainstream, but overall, it's a good listen and a welcome addition to any Christmas music collection.
The Most Vital an Album You'll Hear This Year | Posted October-22-2012
Have you ever listened to an album and as it faded out, it dawns on you that you have just encountered a musical experience that is truly mind-blowing? No? Listen to the latest release by alternative rockers Anberlin; that'll change.
Anberlin has spent the past eight years growing their fan base in both the Christian and mainstream circles. In 2007, they released what many considered to be their best record ever with the phenomenal Cities. Everything they've done since on their new mainstream label has, for better or worse, stood in the shadow of that dynamite release. Now, with the release of Vital, the record the band says is "for the fans," the band might finally have a release that everyone agrees can go toe to toe with anything they've done before.
Opening with the usual rocker, "Self-Starter" kicks in with relentless guitars and an emotional chorus that sets the pace for what is ultimately a fierce and memorable album. The energy here is so undeniable and one immediately realizes that Anberlin wasn't kidding this time when they promised the most aggressive record of their career. That promises continues with the next track, "Little Tyrants." Melodically, this is probably the least defined on the record, but it's also a fierce rocker that hearkens back to the band's older days, only through the lens of their immense musical growth over the years.
Of course, this album is anything but a trip down memory lane. As "Otherside" starts, listeners familiar with the band's sound might do a double-take at the haunting electronic opener and the soft lyrics that follow, which then explodes into a powerful and spine-tingling chorus: "Love me / Love me / Why don't you know me / know me." This is truly a chilling track and a bold new step for the band.
Lead single "Someone Anyone" is next and this probably sounds the most like the Anberlin we know and love, but with a trace of synth and with the rock cranked up a few notches. It's a worthy choice for radio. You'll be singing, "No one can walk away," all day long. You know you will. You'll be caught singing it at school or work and then you'll have to turn those people onto the CD to explain yourself. It's inevitable, people.
"Intentions" brings back the electronics and explodes into a fierce rock track before the band quiets things down for the free-spirited "Innocent." The ballad might feel out of place amidst all the chaos in the hands of a lesser band, but Anberlin handles the transition with grace.
Ready to slow things down after the happy feeling the last track left in you? Too bad. Anberlin isn't. "Desires" bangs through your speakers with the force of a stampede. This is one of the most intense songs the band's ever done. The chorus almost screams, "A Liar! A Liar! That's what you've made of me / A Wire! A Wire! / That's What We're Walking On." Hard hitting doesn't even begin to describe this one.
OK, now we can take a breather. "Type Three" is here to chill you out with its mesmerizing sound. Another of the haunting tracks, this song again finds the band tapping into their spiritual side, with some thought-provoking lyrics, including the highlight, "I looked to heaven to save me / and you called me naïve / Rather be a hopeless lover / than cursed with disbelief."
And it gets better. "Orpheum" opens up with a piano and then proceeds to hit us with its nonstop awesomeness. This track features some guest vocals from some lucky contest winners during the bridge. Their presence isn't really obvious, but it completes the atmosphere of the song.
OK, album highlight time. Yep, 9 tracks of awesomeness and the best is yet to come. From the opening sounds of "Modern Age," you know that you're in for something good and once the guitars kick in and knock you off your feet, I think you'll agree. The chorus is one of the album's strongest: "Don't we all want to belong / don't we all write our own song / Let our silence break tonight." It's chilling, it's rocking, and it's downright amazing.
After all of these golden tracks that can only be described as epic, one may wonder what Anberlin has in store for their signature "epic closer." Well, this time they've abandoned their slow-building dynamic rock number in favor of a more haunting, laid-back approach in "God, Drugs, and Sex."
Don't expect the guitars to attack you in this one, three minutes into the song. This one manages to be awesome without ever getting too amped up. While this could be seen as a disappointment to some, the song itself is worthy and still closes out with a recognizable "epic" feel as the group chants "Let go / Let go of me / I'm not here / Let go / Let go of me now / I'm already gone." Ah, beautiful… and a fitting end to an epic album.
And if you have just the regular version and now only silence comes out of your speakers, you've still more than got your money's worth. But if you're one of those who tracks down all the b-sides that bands (and in particular, Anberlin) usually release, you get even more amazing music. These pesky reject tracks that we can't figure out why they aren't on the album? There are four of them this time. Yep, count 'em: four!
From Best Buy, there's "Said Too Much" and "No Love To Speak." A rock track and a piano ballad respectively, these are some good tracks, although it's easy to see why they didn't make the cut. Next to everything else, they just aren't quite on the same level. (But they're still awesome in their own right.)
OK, now to the Australian exclusive slash free download for Americans, "Safe Here." From the opening synth notes, you know for sure that this is probably going to be among the best things you've ever heard. You wouldn't be far off. The verses have a chilling feel to them and hit hard. The chorus is a bit safer and more familiar but it works so well. Why wasn't this on the album, again? Yes, you'll be asking this.
And of course, there's the iTunes track, "Unstable." The album bares a similar feel to the previous, with a haunting opener, although this one keeps it's rock down and focus on the slow, chilly chorus. Ah yes, musical goodness.
Stephen Christian's vocals are the best thing about this release. They range from brutally fierce to majestically peaceful to bone-chillingly haunting to emotional and earnest. Seriously, I think this guy could probably sing anything and make it sound good. Luckily, with Anberlin, he's not pulling all the weight. From the guitars to the pounding drum work, Vital hits all the right notes at just the right times and you're left with the closest thing to a flawless record you'll find this year. Vital is the definition of a band in their element.
Closing Thoughts:
Get this record! What else is there to say? Go out and buy it, and then go and get your friends to go out and buy it. This is music, people--or at least what music is supposed to sound like, what music is supposed to do. It's got power, emotion, honesty, and the band's usual lyrical genius that will get your head thinking for hours on end. Is it better than Cities? Eh, who cares? Why compare two masterpieces to each other when you can be glad that a band actually was able to release two of them? Just sit back and enjoy. The album of the year has arrived!
A Worshipful Effort from The Glorious Unseen | Posted October-16-2012
The Glorious Unseen offers up a pleasant worship album in Lovesick. The title might hint at an upbeat, poppy album that never really shows up. There are certainly some good hooks and great musical moments throughout (such as "Harp in my Heart"), but it's mostly pretty laid back stuff from start to finish.
"In This Moment" and "Brand New" are probably the upbeat highlights of the album and would work well on the radio. They are musically appealing and I do wish there were more songs like them on the album. "The Love of God" and "Make Me A Child" more illustrate the slow, laid-back approach that permeates most of the album. The music's always pretty good but the tracks stay pretty grounded and safe. The vocals are good but feel a bit mismatched for something so laid back. They regularly feel like they want to do more than the songs allow.
Some of the track breaks are a bit awkward as well, with 2 of what feel like "epilogue" tracks being too connected musically to their predecessors in the track listing to stand on their own. ("You Have Ruined Me" and "How Could I Withhold My Heart") Again, the music never gets boring or poorly done. Both tracks are actually quite enjoyable. But they do often feel like they should've been combined with the track before them. (Which I believe some early tracklistings did.) These are minor nitpickings for a physical CD, but potentially more noticeable in the era of iPods and playlists.
Lyrically, it's uplifting enough throughout. ("I am needing to be clothed / will you cover me?" from "Make Me A Child" and "There's a song in my soul and only you can sing it" from "Harp In My Heart.") The lyrics never drag the songs down but they are still on the standard side of things.
The contemplative atmosphere that is present throughout the album is fitting enough and helps the entire project feel cohesive and complete. It never feels gimmicky or forced and that help makes most issues sit secondary to the overall feeling of earnestness in each of the songs.
Closing Thoughts:
This is a fairly safe release that should appeal to fans of the genre. It doesn't really shake things up too much. It sort of is what it appears to be, which I suppose is fine for worship releases. It uplifts our Savior like worship music is supposed to do and so on that front, the album's a success.
Submission Red Offers A Unique Sound | Posted October-08-2012
Submission Red doesn't have too much name recognition in the industry, but if you hear them, you'll probably have to reach pretty far to find somebody that sounds just like them. Musically, they aren't completely original, but combine the catchy rock melodies with Yvonne Winfrey's lead vocals, and you get a pretty original package.
Untamed Ones proves to be a pretty catchy rock release. It opens with the infectious title track ("Untamed Ones") and continues with rock anthem after rock anthem. The title track has a fairly familiar message, but it works fairly enough: "We are Untamed Ones and we rise above the flames / You see us walk above the living, but we are not the same." Lead single "24 (I Want More Of You)" is catchy enough to work. All throughout, the music's pretty good with catchy riffs and engaging intros.
Other highlights include "Glimpse of Light" and "Fight for Me." The album rarely gets dull, but sometimes it feels like the vocals and the music aren't the best fit. Both are very good independently, but they aren't especially complementary. And sometimes there are a few light screams that just do not work. But the positives far outweigh the more distracting elements, and the release is overall enjoyable.
The production on this is excellent. Major props to Ben Kasica (formerly of Skillet) for an excellent job in that department.
Closing Thoughts:
On paper, I probably should have liked this more than I did. It's some pretty good rock music with serviceable lyrics and catchy hooks, top-notch production, and gritty vocals. The final product just doesn't seem to come together quite as much as I'd like. But at the end of the day, it's well worth a listen.
Jeremy Camp’s Christmas CD is Exactly What You’d Expect | Posted September-24-2012
Jeremy Camp has been releasing Christmas songs on various compilations for a while now, but he's never had a Christmas album to call his own--until now. When you think of a Jeremy Camp Christmas CD, you'd probably think of this record. It's pretty much the picture of what a Jeremy Camp CD would sound like.
There are some fast-paced upbeat rockers, slower ballad numbers, and some good, worshipful instrumentation to back up many of the tracks. The vast majority of the tracks are covers of Christmas staples, the songs you've heard covered many times before. Unfortunately, Camp doesn't do too much to make his versions especially memorable amidst the sea of other covers.
Opener "Jingle Bell Rock" is enjoyable and danceable. "Hark the Herald Angels Sing" and "Joy to the World" are also very well done. And Camp's rendition of "Mary Did You Know" is especially emotional and an album highlight. None of the songs are especially bad. They all just sound exactly like what they are, Jeremy Camp singing a popular Christmas carol.
There is one original--the title track. As original Christmas songs go, "God is With Us" seems to fall on the average end of things. It's not bad at all, and perhaps it would be a lot more enjoyable if it weren't forced to pull the weight of the album on it's shoulders, as the title track and only original offering on the album. Lyrics like "Hallelujah, the Christ is here. So rejoice for our salvation's near / Emmanuel / A humble king / We give you our hearts as an offering / You laid down your crown / and became as dust / Emmanuel / God with us" are fitting for the season, even if they are fairly safe. But musically, the track feels a little bit underwhelming as the only original on the album. Camp's a talented songwriter and I would've liked to see more of that on the album.
Closing Thoughts:
It's Jeremy Camp singing Christmas songs. That's what the cover advertises, and that's what you get. Nothing here is really shocking. Christmas music is a big draw and an artist of Camp's caliber obviously was bound to tackle a Christmas album eventually. It's just that an artist of Camp's caliber should have a release that's at least a little more "classic" than this.
Who is theKey? That's the question I was asking as I listened. I hadn't heard much about them or their release. I didn't know what to expect when I listened. What I got was a fairly interesting pop/rock album with some nice, rousing hooks.
The title comes from the song "Without You" tucked in the latter half of the album. It's a good track with some nice musicianship. "Although I found you here, I am without you" offers accessible lyrics that still offer something a little bit deeper than the obvious surface-level stuff you might expect from a newer pop band.
"I'm the one that made mistakes/You're the one who took the blame" is another standout line from "The Only Thing That's Right." The song is another enjoyable musical entry. In fact, "enjoyable" is a good word to describe the entire album. It doesn't knock you out of your seat with anything amazing or breathtaking, but it's enjoyable.
"What I Want" and "Waiting" are fun tracks. "Hey" is a really danceable upbeat number. "No One" has radio airplay written all over it. The album's pretty much a nonstop good time. It's not necessarily the kind of album that will end up topping many year-end lists, but it's a good, clean fun. There's a lot of potential here for some greatness in subsequent releases. Most bands should be this fun out of the gate. But they must build on this if they want to make themselves known. They haven't really defined themselves at this stage, so that should be their next focus with their next release.
Closing Thoughts:
I liked theKey's release. I'm probably gonna check out their next releases. I don't think I'll be singing these songs for ages. I doubt they'll be getting many plays on iPod. But they're a fun sound to come back to. And for a debut release, that's enough,
A Solid Release Full of Life and Energy | Posted September-10-2012
Luminate present a passionate musical experience in their latest album, Welcome to Daylight, that helps to elevate what could've been simply listenable pop/rock tunes to very enjoyable and memorable anthems. I went into this expecting some average pop/rock and was presently surprised at the earnestness in the lyrics and melody and the catchiness of the music.
The industrial sounds blend well with the light rock sound, helping to really make the listener take notice. The urgent opener (and title track, "Welcome to Daylight") is packed with a singable chorus and an infectious hook and this formula seems to play well throughout the album. "Banner of Love" is a passionate cry to action for Christians. Whether it's some of the more upbeat rock-driven songs like "Never Give Up" and "This Ends Tonight" (which sounds like the soundtrack to a western showdown), or softer and more uplifting ballads like "Heal This Home" and "Love is Loud," the music is forever soaring and really makes the music insanely likable.
The album touches on many themes relevant to Christians. For example, "Banner of Love" opens with: "There's a fight between my heart and soul / When my pride tries to take control / It's hard to see what I was meant to be." "This Ends Tonight" militantly stands up to the devil as it claims, "You're never going to take me out."
"Heal This Home" offers hope to those living in broken families: "When it feels like there's no way to fix what's wrong/love is strong/and God can heal this home." Each track title actually gives a good idea as to what the song will be about, and none of the topics are alien to most Christian rock, but that predictability doesn't detract from the overall enjoyability of the music or the relevancy of the lyrics.
There's not really a bad track in the album. It flows well and never gets boring. The music is just plain good, and I'm pleasantly surprised at how much I liked this release.
Closing Thoughts:
There really is a lot to like here: strong lyrics, catchy hooks, soaring choruses, memorable melodies, and spine-tingling music. There's really not much I found to dislike at all. It may not be the best release of the year, but it's really, really good. Hopefully it'll give Luminate a platform to make a name for themselves and they can do even better on their next album. I'll definitely be paying attention to them more after this; that's for sure.
JJFrancesco_NRT's Music and Book Reviews 
