The Bigger Picture
by
Jerry Jerry Fee is a Boise, Idaho transplant who has recently plugged his electronic sensibilities into the Nashville music community. His sound is a unique marriage between a throwback-to-the-80s-sound and...
A Perfect Storm | Posted February-28-2017
Although Farewell to Midnight is technically As We Ascend's debut, it would be difficult to categorize it in anywhere near the same league as your usual hard rock freshman fare.
As We Ascend is a trio formed by guitarists and vocalists Justin Forshaw and Jake Jones, both formerly of We As Human, and drummer Robert Venable, best known for his work as a producer (his impressive resume includes work with diverse names like twenty one pilots, Kelly Clarkson, Megadeth and Disciple). The three veterans create a special kind of musical chemistry on Farewell to Midnight, proving out of the gate that their work ethic, passion and dedication to the craft of rock and roll are unparalleled.
As you might expect from a group formed by guitarists, songs like "Hatchet," "We Fight" and "Watch the World Burn" display full-bodied riffs paired with searing solos. The fact that these songs are so grounded in the guitar presence is refreshing for those who might have been missing that element in recent years. The guitar work never strays into self-indulgent territory however, with songs like the addictive album highlight "Tell Me" showing off As We Ascend's ability to balance guitars with percussion and vocal hooks to serve the needs of the song. Similarly, punchy "When the Gun Goes" features hefty guitar riffs that carry the song without overpowering it.
Justin Forshaw and Jake Jones both hold their own in their new roles as joint vocalists of As We Ascend, their voices transitioning back and forth seemingly effortlessly. Vulnerable ballad "At My Door," which also features a guest vocal from 3 Doors Down vocalist Brad Arnold, provides a canvas for the full range of As We Ascend's vocal dynamic to be displayed. "At My Door" also captures a subtle but poignant message of hope in Christ as the bridge sings "will I let go of the past and live for tomorrow / will I curse the hour glass as it bleeds through the night? / Can I sing for the memories without words of sorrow / sing for the hope I have when Jesus comes?"
"Insulate" is another track that shows clearly that the heart of this album lies in providing hope and offering a call to listeners to move out of their own personal darkness. The searching lyrics sing out "The love that's gone inside left a hole in your heart so wide, but hold tight: God will make you whole." The elements of a redemptive Gospel found here are presented without apology or gimmick, woven into honest pictures of the often heartbreaking complexities of life.
The sound As We Ascend presents is developed and dynamic, boasting a unity between the three members that forges Farewell to Midnight as a tight, coherent unit. Although it could be tempting to listen to this album entirely in light of the past, As We Ascend is so much more than their We As Human roots, and they display promise that could easily carry them on a meteoric rise far beyond what their last band achieved.
The Bottom Line: With their dual guitarist and vocalist dynamic, tight songwriting and technical mastery, As We Ascend has created the perfect hard rock storm. Farewell to Midnight is an early frontrunner for the best rock record of the year, proving undeniably that for As We Ascend and their listeners, the best is yet to come.
A New Voice of Christmas | Posted November-15-2016
Peter Hollens has amassed an impressive YouTube following of nearly 1.5 million subscribers based primarily on one key factor: his voice. The acapella artist has created unique, captivating arrangements of songs in areas ranging from movie soundtrack to traditional folk to pop, usually utilizing nothing more than his own voice layered in complex harmonies. Those pure vocal tones have most recently been applied to Christmas classics with A Hollens Family Christmas.
With A Hollens Family Christmas, Peter offers a significant dose of his classic acapella sound on tracks like previously heard "Mary Did You Know" and the haunting "What Child Is This." Although the precisely layered vocal harmonies will delight and intrigue acapella buffs, the arrangements also shy away from becoming so technical that the average music listener can't connect to them. "Carol of the Bells," a song that traditionally lends itself well to the acapella format, displays that balance beautifully. The vocally full "O Come O Come Emmanuel" may even have you forgetting the rich sonic swells are built by the human voice alone.
Peter Hollens does not restrain himself however to the expected and safe. Highlight track "December Song" comes in two versions on this album, one acapella, one with piano and strings filling in the musical backdrop instead of multiple vocal parts. The version featuring instruments actually allows Hollens' voice to shine in a way the other tracks do not, showcasing a purity and clarity of tone. "My Grown Up Christmas List" is another moment where his voice gets some accompaniment. Peter's wife Evynne, an accomplished acapella singer in her own right, lends her voice to the song originally popularized by Amy Grant.
The Bottom Line: Peter Hollens has created in one package an acapella album that will appeal even to those who are unfamiliar with that musical tradition and a Christmas album that feels both classic and decidedly current. With A Hollens Family Christmas, Hollens takes his place alongside Pentatonix as part of a new generation of vocally-driven holiday classics.
Rebel Anthems | Posted October-04-2016
For Disciple, Long Live The Rebels is more than just the title of their newest album: it's a mission statement, a carefully encapsulated ideal, that has shaped and driven the band's trajectory since Kevin Young formed it well over 20 years ago. Part of that ethos involves reinventing the norm--even when it means challenging their own internal status quo.
One of the things that made Disciple's 2014 album Attack so strong was that, even following a massive lineup shift and a transition to independence, it was still exactly the kind of album that Disciple fans would hope for and expect. What makes Long Live the Rebels excel is in many ways the opposite: the band takes the listener offroading into uncharted sonic territory, embracing the unexpected both musically and thematically without ever losing touch with their core identity. For the first time, Disciple turned to veteran producer Aaron Sprinkle to help hone that direction, and the result is one of the strongest rock outings of the year.
This is immediately evident on album opener "First Love," which begins with an otherworldly, haunting intro before diving into a desperate plea: "take me back to the moment we were so close that our hearts would beat as one." A cleanly executed solo also serves to introduce guitar textures that push the boundaries of past Disciple albums, proving guitarists Andrew Stanton and Josiah Prince have fully come into their own. Several other solos on the album reiterate this, with guitar tones ranging from full-bodied and gritty to soaring and sharp.
One of the most clear forays into new territory occurs on "Come My Way." Disciple carefully layers guitars, a steady percussive bed from Joey West, electronic elements and Kevin Young's signature unbridled vocals with some strong backing from Josiah Prince to create a textured, brooding musical masterpiece. The song is a conversation with the enemy of our souls, captured in lyrics that are equal parts beautiful and chilling: "There's no hiding from the whispering that's like screaming in my ears / there is no shelter from this offer when the only question I can hear is 'are you gonna come my way?' / Yesterday I might have said yes, but not today."
"Secret Weapon" carries a similar dynamic to "Come My Way" with its diverse musical textures and hint of electronic programming, but with an extra dose of adrenaline. Album closer "Empty Grave" upends expectations all over again, serving as a hard-rock-meets-southern-gospel hymn. Backed by seamlessly interwoven guest vocals by Joyce Martin Sanders of The Martins, Kevin Young channels all of his southern roots into the gospel-centric chorus: "I was so empty the day that You found me / kneeling at Your cross I find a place that I can find new life / You resurrect me, leaving an empty grave."
It's noteworthy that Disciple has managed to explore new ground in a way that is such a graceful progression from their past work that it will still feel instantly familiar to fans. Title track "Long Live the Rebels" is firmly rooted stylistically in classic Disciple tones, as is the raucous anthem "Underdog Fight Song." The passionate expression of the love of God, a hallmark for Disciple, is expressed in a new way on "Erase," a tender promise from God to "erase your yesterday." "Spirit Fire" is another song that pulls heavily from the sound of albums past while lyrically centering heavily on the Holy Spirit--a topic rarely addressed so frankly in Christian music.
Although Disciple's signature absolute allegiance to the gospel of Jesus Christ remains integral, this album's themes are more complex, subtler and often significantly darker than those on Attack or even O God Save Us All. "Spinning" captures the questions that arise from living in the tension of redemption and tragedy on both a personal and a global level, finally confessing "I don't know if I can handle Your answers to the questions I have inside my heart." Disciple has always soundtracked the road walked by those following Christ. Long Live the Rebels captures the full range of that experience better perhaps than any Disciple album yet, acknowledging that the life of a Christian choosing to step in the footsteps of Jesus rather than following the mass consensus of the world will frequently be lonely, difficult and painful--but ultimately, completely worth it. As "God Is With Us" summarizes beautifully, "the strongest darkness can't contend with where my help comes from / Their words cannot stand against us / for God is with us, God is with us."
The Bottom Line: Even beyond the context of Disciple's broader discography and the reality that this could easily be named their strongest album yet, Long Live The Rebels features songs unlike anything any other band is currently creating. Their masterful use of an array of guitar sounds, subtle touches of electronic elements, unchecked vocal passion and raw, redemption-rooted lyrics prove Disciple is still one of the best in the hard rock business. Their songs continue to voice vital battle cries for their fellow spiritual rebels.
Vibrant Freedom | Posted October-01-2016 Bethel Music's vibrant ministry continues to see soaring growth, and Jonathan David and Melissa Helser are one of the most recent additions to the family. The North Carolina-based couple are best known for creating "No Longer Slaves," a Dove Award-nominated anthem featured on Bethel Music's 2015 release We Will Not Be Shaken.
For any who have been stirred by "No Longer Slaves," the Helser's new album Beautiful Surrender will provide freeing soul-songs in a similar vein. "You Came (Lazarus)" revels in the joy of a heart that has known resurrection, celebrating simply "You came / I knew that You would come / You sang / My heart, it woke up."
Many of the songs stand in a position of the absolute freedom that comes from surrendering to who God is. "Outrageous Love" is a tender prayer of acceptance of God's overwhelming love, backed by gentle yet intricate instrumentation. Following directly after, "Strength" speaks of what happens when we embrace that love. These integral relational truths are captured beautifully in "Abba (Arms of the Father)" as well, which sings "Closer than the skin on my bones / Closer than the song on my tongue / Your thoughts define me, You're inside me / You are my reality."
Sonically, this project does not stray too far from the sound of recent Bethel albums Have it All and We Will Not Be Shaken, but Jonathan David and Melissa do flavor their music with a little more of a raw and personal edge. The album's first half carries more energy, while the second half tends towards the contemplative. "Find Me," "First Love" and "So Much Grace" seem to hold a hint of influence from the pair's North Carolina home, carried by the collective of musicians who back them (known as Cageless Birds). The strings that surge beneath songs like "Outrageous Love" and "The Gospel" add a beautiful, dreamy texture, an effect also achieved by the slowly searching piano phrases in "Beautiful Jesus."
The overall auditory landscape, paired with vivid imagery in the lyrics, makes Beautiful Surrender feel musically more like an indie folk-influenced release than most contemporary worship records. The album wraps with the inclusion of a radio version of "No Longer Slaves," serving as a nice reference point and also providing a musically tighter, more upbeat rendition of the powerful track.
The Bottom Line:Beautiful Surrender's thematic hub is the freedom that comes from full surrender to the true Gospel, the fullness of Jesus's love and grace. Those timeless concepts are expressed in often delightfully unexpected ways both musically and lyrically, establishing the Helser's unique and vital role in the Bethel Music worship family.
New Life | Posted September-02-2016
It's been a decade since Remedy Drive released their first album under that name. Independent album Rip Open the Skies would lead to stints with two different labels, two albums and a few hit singles before they returned to independent status for justice-driven album Commodity. With so much ground covered in the past decade, a retrospective of sorts was certainly due. That is what we get with Hope's Not Giving Up, a collection of re-imagined classics from Remedy Drive's first three albums.
The songs presented here are in a noticeably grittier format than Remedy Drive fans of Daylight Is Coming days might have come to expect. That album's titular hit, "Daylight," gets both a heftier bass line courtesy of Corey Horn and a stronger guitar presence. "All Along" sees a similar treatment. Most electronic production elements are stripped out of these versions (save for David Zach's keyboard, a consistent grounding presence).
"Statues" and "Come Up" from Rip Open The Skies sees perhaps the least alteration, unsurprisingly given that the album was the most raw to begin with. The reimagining is still a welcome inclusion, given that for many more recent fans, it may be the first time they've heard the songs.
One of the album's highlights is "Resuscitate," a song from the band's 2012 album of the same title. The original was bursting with the potential to be a searing rock anthem, but was shined up to fit the sound on the rest of the album. This new version is delightfully brash and alive, carried by dirty guitar tones and thumping percussion from drummer Tim Buell. Another highlight is "Jack's Song," another track that may be new to many (previously featured on the Light Makes a Way EP). The honest, tender song is written for frontman David Zach's son, expressing common questions a child has as they grow up and answering simply "my son, I don't have all the answers / And I don't want to let you down. / All I know is that I'm running towards this hope that I can't see / And son, I hope you follow me."
The Bottom Line:Hope's Not Giving Up has a garage rock, DIY-sound that might challenge some more pop-leaning listeners--and enthrall rock and roll enthusiasts. Old classics are given new life, and some of the songs feel like perhaps they've found their truest form in this project. Hope's Not Giving Up serves both to celebrate the past and look ahead to more hope-saturated songs to come.
Songs for Growing Up | Posted August-12-2016
Growing up is a strange and awkward process--especially when you have to do so while under the scrutiny of an audience of thousands. That is exactly the position Relient K's Matthew Thiessen and Matthew Hoopes have found themselves in over the past 16 years.
When we first met Relient K in 2000's self-titled debut, their songs were full of the giddy energy and flippant wordplay of highschool boys. The Anatomy of the Tongue In Cheek and Two Lefts Don't Make a Right would give insights into coming of age and college experience. Mmhmm, Five Score And Seven Years Ago and Forget And Not Slow Down echo the painful relational turmoil and soul-searching that often accompany the 20s. Collapsible Lung, although less personal, began to reflect a place of more stability. Every step of the way, the Matts have used their music to open a door on that process of maturing, catching lyrical snapshots of the internal landscape at that particular moment.
2016's Air For Free drives home to me more than any other Relient K release that it is this process of growing up and becoming that has shaped the trajectory of the group's now-legendary discography. And this band's adulthood is proving to be thoughtful, intentional, spiritual--and still just a little bit whimsical.
Lead single "Bummin'" captures a plea against apathy wrapped in a fuzzy indie rock tune. Referencing his Nashville hometown, Thiessen sings "Broken downtown down on Wedgewood and 8th / And I'm bleeding like a heartache get ready to break / And then on down the road comes another mistake / Try hard as I might, I can't quite get it right."
Those frank admissions of flaws have often characterized Relient K's work, and it's a vulnerability that makes title track "Air for Free" one of the best on the album (and perhaps in their entire discography). Trembling vocals sing over a mellow piano-based instrumental bed: "Air for free / If I sink to the darkest depths, will you be there for me? / To hold my hand while I hold my breath." These introspective themes carry into frenetic "Runnin'" and even tongue-in-cheek "Local Construction," a classic Relient K cut with a peppy melody belying the soul-dissecting lyrics.
Relationships get the same thoughtful, slightly melancholy treatment in the regretful "Flower," a song that aches for lasting love and grieves coming up short. "Empty House" uses tasteful auto tune to play Matt Thiessen's voice like an instrument, the vocals wandering through a sparse musical space that seems representative of living in the empty space left by a once-significant relationship.
For fans who miss the nonsensical punk slant of Relient K's roots, "Mrs. Hippopotamus," a tribute to the band's place of origin in Ohio, will satisfy their cravings, as will the playful "Cat." "Elephant Parade" occupies the same niche (and boasts a quirky, fitting use of a horn section), even while playing with the more serious idea of feelings left unsaid as embodied by elephants in the room.
The final element of classic Relient K that is presented in the most mature light yet is the spiritual. "Prodigal" is a ballad that explores some of the tension of faith with the lyrics "I am the champion of wine / You're the bread on my tongue / I am the last one in line / The prodigal son." Unabashed "God" plays like a creed or a prayer, declaring over a sweeping sonicscape "I yelled in the wind / He came rolling back to sweep me off my feet / I cried to the rain / He came pouring down to drown my disbelief / Oh, I believe in God, I believe in God."
Perhaps one of the best ways to sum up the many elements that make up the 16 track Air For Free is that it feels, undeniably, like a Relient K record--perhaps the most genuine set of songs to their identity as people and as a band yet, as if they are becoming increasingly themselves. Listeners from every chapter of Relient K's history will find moments to resonate with, but far from being a retread of old terrain, Relient K has displayed maturity and artistic integrity in choosing to be who they are right now rather than recapturing adolescence. Even in that process, Thiessen and Hoopes have allowed for just the right dose of auditory nostalgia.
The Bottom Line:Air For Free has the potential to make you smile, dance, reflect and pray--perhaps all in the same song. It stands as one of the strongest offerings in Relient K's discography, combining tongue-in-cheek phrasing and spiritual musings in perfect balance with a polished, slightly punk-flavored indie rock sound. If you haven't listened to Relient K in a while, this album is the perfect chance to revisit them and fall in love with their sound all over again.
Reinventing and Roots | Posted July-14-2016
When you have two platinum albums, Grammy nominations, a massive worldwide audience, a legacy spanning over 20 years and one of the best-known names in both Christian and mainstream rock and roll, it would be easy to rest on your laurels and play it safe. However, playing it safe has never even been on the agenda for Skillet, and long-awaited album Unleashed proves it.
The band spent over three years following the release of 2013's Rise perfecting a new batch of songs. The result is a sonic shift that some fans may consider something of a rebirth-- while for others, it will harken back to the early 2000s, Alien Youth and a very different Skillet. Unleashed's ferocious lead single "Feel Invincible" establishes out of the gate that the band has scaled back the symphonic rock blend that propelled Skillet from slow-burning success on Comatose to overnight worldwide recognition with Awake. The crucial role of providing texture and dynamic that a string section once filled is now shouldered by electronic elements, giving Korey Cooper's long underrated programming abilities well-deserved prominence.
Rest assured however that these synths are worlds away from slick, cliched pop constructs. On "Burn it Down" the synths scorch a path underscoring hefty guitar lines, adding to rather than detracting from the song's aggressive punch. On "Saviors of the World," the back and forth between guitars, synths and John Cooper's gritty vocals feel like a reference to the best of the 80s. The old symphonic elements do make at least one cameo on "I Want To Live," the track on the album that most keenly reminds of Awake.
Lyrically, fans are likely to notice a subtle shift as the songs steer clear of deep water and coast through more celebratory and even worshipful territory. Following forays on the last three albums into topics like suicide, violence, eating disorders and self injury, John Cooper has said he wanted to create something a little different. "I wanted to make a record that made people feel the music-- an album that would connect people to the music as well as to each other," John Cooper has explained. "An album, like some of my favorites, that'd be like a party to listen to, where people could sing along together."
That perspective is crucial to have when approaching Unleashed. "Undefeated" is an infectious sports-ready anthem much more likely to cue fist-pumping than introspection. "Famous" is one of the album's more pop-leaning cuts, built from the widely used concept that we are here to make God famous. "Watching for Comets" is a wistful summer love song, a ballad worthy of lighters (or cell phones) raised high.
This is not to say that the album is devoid of Skillet's trademark deep devotion to the gospel, however. "Stars" puts Skillet's longstanding passion for worship on center stage with a moving affirmation that the God who holds the stars also holds every moment of our lives. One of the darkest and most lyrically intriguing tracks, "Out of Hell," voices a desperate plea for God's redemption over Seth Morrison's blistering guitar riffs: "I'm suffocating waiting for you, because the angels don't fly down here / I need you because no one else can get me out of hell."
Inevitably, we can anticipate that some fans will boil down this album to one question: "is this album heavy?" That would, however, be the wrong question to ask when evaluating Unleashed and sifting through this sonic shift that has both brought Skillet closer to their roots and propelled them forward at the same time. There are certainly moments of both thunderous guitars and more delicately constructed melody-- often closely juxtaposed (see "The Resistance" for an example of the spectrum). A perhaps better question I have asked myself when listening to Skillet's ninth studio album is "did they accomplish what they intended to?"
I would offer a resounding yes to that question. The album is simply an enjoyable listen, even when the lyrics are lighthearted and flashy. Skillet shows complete mastery of the electronic elements they have chosen to introduce, seemingly effortlessly nailing a balance countless other bands have tried to achieve in the past few years.
However, longtime fans should approach this album understanding that for them, it may not be much more than that: an enjoyable listen. And for fans who found their home in the Panhead world because of brutally honest yet redemptive masterpieces like "Savior," "Whispers in the Dark," "The Last Night" and "Monster," this album might not land in quite the same place in their hearts.
The Bottom Line: With Unleashed, Skillet reveals an unapologetically enjoyable foray into electronic-infused hard rock as the Christ-centered core of their mission continues to hold steady. Although this may not be your favorite Skillet record, it's a record very worth buying and cranking up in the car with your friends-- and it proves Skillet's continued ability to successfully reinvent themselves.
A Hard-Hitting Sequel | Posted June-10-2016
The double album concept is an old one, but not one that has been frequently employed in recent culture where attention spans are the length of a single and the ability of an artist to endure is challenged on every side. It takes a special band to pull off that kind of scope successfully. Fortunately, rock music mainstay Thousand Foot Krutch has exactly the work ethic and creative intentionality required to make it work.
Enter Exhale, the follow-up to Oxygen: Inhale. This is an album that kicks down the auditory door with guns blazing from the first searing chorus of empowering "Running With Giants." Songs like aptly-titled "Adrenaline" bring the rapcore elements from Thousand Foot Krutch's early days to the fore, with frontman Trevor McNevan's voice stretching effortlessly from scorching raps into a hooky melody. Gritty "Different Kind of Dynamite" and brooding "Off the Rails" lock in place Exhale's status as an undeniable, unashamed rock album through and through.
Lyrically, this album is encouraging and bold. "Give Up the Ghost" declares "I've met trouble and I've met rain / laughed with joy and cried with pain / but now I see and I believe / that the ghosts that haunt me have been out-haunted," a sense of victory through adversity affirmed with every beat of the kick drum from Steve Augustine. Although many of the songs certainly express and encourage confidence, it's done with refreshing realism, such as on album highlight "Incomplete." Here the band acknowledges the struggles and sacrifices inherent in the journey of chasing our passions and callings.
To fully understand and enjoy Thousand Foot Krutch's Exhale, it has to be heard in context with its 2014 counterpart Oxygen: Inhale. Inhale was at least half tracks showcasing TFK's softer side, often exploring deep prayers of the spirit in restrained but lush sonic atmospheres. Tracks like "In My Room," "Oxygen" and "I See Red" left many fans deeply moved, while others asked where the hard-hitting Thousand Foot Krutch we know and love had gone. Exhale is the answer to that question, the perfect guitar-laced pairing for the gentle Inhale. Taken by itself in fact, Exhale might feel almost too relentless in pace and theme, lacking a little in sonic texture (there is only one song on this album that slows it down for even an instant). But paired with Inhale, the complete work displayed between the two is a breathtaking example of TFK's range, both musically and spiritually.
Aforementioned ballad on Exhale comes in the form of "Honest," a musically simple but lyrically visceral prayer that begins "They say heaven is a place where all pain is washed away / with no room for all the torment of choices that we've made. / I'm a broken man, saved by grace, tossed along inside this maze / and I am just a question to the answer You convey." The song closes the album on its most emotionally fragile note, giving voice to an earnest conversation with the God who meets our hearts in the most difficult places.
The Bottom Line:Exhale is full-bodied, infectious rock at its finest, empowering and emboldening listeners even as it serves up searing vocals and thunderous guitar riffs. Although taken on its own it might feel a little incomplete, it is the perfect completion to what Oxygen: Inhale began, and is sure to satisfy fans craving a dose of Thousand Foot Krutch's signature arena-sized, adrenaline-inducing sound.
Ending The Silence Again | Posted May-13-2016
For Christian rock, 2006 was one of those rare, charmed years that yielded some of the most definitive albums for both individual artists and the genre as a whole. The year's impressive release calendar included albums from already established acts like Comatose by Skillet, Testify by P.O.D., Hearts of the Innocent by Kutless, Scars Remain by Disciple, and also a debut project by a brand new rock outfit: End of Silence by RED.
End of Silence landed perfectly in middle of the symphonic rock movement of the time, with then-rookie act RED pulling off the sound better than some veterans. Songs like "Breathe Into Me," "Already Over" and "Let Go" would become iconic staples of the genre, exhibiting impressive staying power even as RED was propelled through four more studio albums and countless arena shows and sold out tours. A decade since fans were first introduced to a sound that has become one of the best-known in the genre, RED is celebrating with a special anniversary re-release.
In addition to remastered versions of End of Silence's original eleven tracks, the re-release features four acoustic versions, one new track and a special demo. "Breathe Into Me (Remix Acustica)" has been previously released, but it's such a strong acoustic reimagining of the song (see in particular the visceral added bridge) that it more than deserves inclusion here. The same can be said of the acoustic version of "Lost," previously heard on the End of Silence Deluxe Edition.
Acoustic renditions of "Already Over" and "Hide" are brand new. These arrangements allow for the emotional cores of the songs to stand front and center. The stripped back format also beautifully displays the development and growth of frontman Mike Barnes's voice in the past decade. The singer's vocals have developed texture, strength and maturity that drive these songs home as if it was the first time we've heard them.
New song "If I Break" stays in the more vulnerable territory with a vibe similar to past songs "Hold Me Now" and "Not Alone." Over a subtle blend of acoustic guitar and piano, the lyrics plead "and if I break, if I fall / will you still run to me when I call? / If I close my eyes and I can't find my way to you / will you stay, if I break?" The instrumental demo track "Circles" presents a brooding, layered sonicscape similar to what fans heard in the interludes on last year's Of Beauty and Rage.
The Bottom Line:End of Silence: 10th Anniversary Edition adds just enough new material to merit the re-release while still keeping the focus on celebrating the legacy these songs have created over the past decade. Longtime fans should view this as a good addition to their collections, while for newer listeners this is the perfect chance to discover End of Silence for the first time.
Where Ethereal and Visceral Meet | Posted May-04-2016 My Epic isn't your average alt rock outfit. Their 2013 Facedown Records release Behold displayed a musical maturity hardwon through over a decade of shows and releases, matched by lyrics with an intensely honest and perspective-inverting look at the human soul. This year's EP Viscera, the first in a series of yearly EPs, is the perfect follow-up. The project is characterized by the same ethereal vocals and lyrics exploring raw spirituality as found on Behold, while introducing some of the grittiest guitar tones of any My Epic release yet.
The name Viscera is Latin, and it refers to a person's internal organs. The title proves fitting for a collection of five songs that all explore the vital blood and breath of human experience. Lead single "Ghost Story" sets the tone for the project, honestly expressing the process of redemptive rebirth and the sacrifice involved: "Seeds will never bloom till they die, / wicks don't shine until they're on fire / and every newborn leaves a scar to remind. / If it costs me nothing is it worth anything? / I hear you calling me but God I am scared, still if you lead me I will follow you there."
That kind of visceral rebirth is explored further in moody "Memoir," a song that sings "I was finished / slept in grave after grave and waited buried / but the end I deserved never came." The lyrics are backed by rhythmic piano and guitar lines that serve to drive the message of restoration home. The haunting instrumental interlude "Cesura" bridges the space between "Memoir" and "Wive's Tale," a song with guitar tones and structure almost reminiscent of Anberlin as the song explores the deep rawness of vulnerable relationships.
"Open Letter" wraps the EP with a sharp guitar tone and the searing question "what kind of God makes a world like this?" The open letter to God, expressing the turmoil of faith and doubt, is backed by perfectly balanced guitar and keyboard tones, tied together by smooth percussion to create possibly the most textured sonicscape on the collection. The song is a fitting conclusion thematically to a project full of prayers wrenched from the core of the human heart.
The Bottom Line: Full of hard-edged guitar tones, otherworldly vocals and lyrics that are both vividly poetic and intensely human, Viscera is the best yet from My Epic. The five tracks are just enough to satisfy the listener while building anticipation for the EPs to come.
MaryNikkel_NRT's Music and Book Reviews 
