The 13th Tribe
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For 3500 years, the tribe has searched for redemption and reconciliation to God. Afraid to die, but tired of living, they’re sole desire is to execute God’s judgment in the hope of gaining...
The Last Plea Bargain
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What would happen to the legal system if suddenly every defendant demanded a trial by jury? With over 90% of cases settled by plea bargain agreements, if defendants were no longer willing to work...
The Generous Mr. Lovewell
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MercyMe GENRE: POP/ADULT CONTEMPORY/ALTERNATIVE
LABEL: INO RECORDS
RELEASE DATE: MAY 4, 2010
RATING: 5 OUT OF 5
Review By Brian Hall
I have a lot of respect for MercyMe. Of all the AC bands out there,...
Annie Moses Band's "This Glorious Christmas": A Review | Posted November-18-2008
by C.E. Moore
“This Glorious Christmas” is my introduction to the Annie Moses Band. Wow. Just…wow. They are absolutely amazing. This is the way sacred Christmas music is meant to be experienced. There’s just something about violins, cellos, and the feminine voice that just captures the spirit of the season.
First, let me explain a little about who the Annie Moses Band is. Composed of the Wolaver family—Bill (composer/arranger/pianist) and Robin (lyricist/vocalist) and their children, Annie, Alex, Benjamin, Gretchen, Camille, and Jeremiah—this group has wowed audiences and critics alike. Each of the members is specially trained in a specific instrument (some at Julliard) under renowned instructors, so they work well together as a unit. And in case you’re wondering why the band is named after one of the children, it’s not. It’s named for the kid’s great grandmother.
That being said, let’s talk about the music.
You know, I really just feel like “Wow” could sum up my feelings about the entire album, so I’ll keep things brief. The album starts out with the traditional English “Sussex Carol” and it is bright and vibrant as the violin, viola, cello, piano, harp, and other strings coalesce to create a beautiful sound. It will recall a simple time while reminding listeners that Christmas is a time to celebrate the advent of God on earth. “God Rest Ye Merry Gentlemen” is the next track and here we are introduced to Annie Wolaver’s lithe vocals that blend delightfully with the family’s instruments as they build towards a crashing crescendo. Several offerings were penned by family matriarch Robin Wolaver—“Bethlehem, House Of Bread,” “Little Baby,” “When The Christmas Baby Cries,” and “Red, White, & Blue Christmas.” The best of these tracks is “Bethlehem, House Of Bread,” which is nimble and haunting. It is quite difficult to craft a modern Christmas song while infusing it with classic sensibilities. Robin Wolaver is a gifted lyricist in that sense. This is new and unfamiliar, yet it feels like I have known it all of my life. “Red, White, & Blue Christmas” is a bonus track that remembers those serving in America’s armed forces away from their friends and families during the holiday season.
In addition to the album comes a DVD of the band playing live. And let me tell you, seeing is believing. I am awed by this talented family and how they are using their gifts as a family to glorify God and edify believers and non-believers alike.
I cannot overstate how flat out amazing this album feels. If you’re only going to buy one Christmas album this season, make it the Annie Moses Band’s “This Glorious Christmas.” Listening to this offering will make the holidays glorious indeed.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Cindy Morgan's "Beautiful Bird": A Review | Posted November-16-2008
by C.E. Moore
My favorite female contemporary Christian artist is Nichole Nordeman. But, there would be no Nichole Nordeman if it were not for Cindy Morgan. Taking the radio waves by storm in the early 90’s, Morgan released album after album and never quite received the accolades her talent deserved. Her popularity seemed to peak somewhere around her “Listen” album, although I still believe her Passion week-themed “The Loving Kind” was her best album. That is until I heard her newest project, “Beautiful Bird.”
In a sense, finding “”Beautiful Bird” was akin to stumbling on buried treasure long forgotten. I was unaware that Morgan was still making music at all. She’s had several that have released since “The Loving Kind” and none of them have garnered the attention of her earlier work. That doesn’t mean she hasn’t been busy. She’s been writing songs that have been sung (and become hits) by such artists as Michael W. Smith, Point Of Grace, Avalon, Rachael Lampa, Brit Nicole, Mandisa, The Martins, Michael English, BeBe Winans, Sandi Patty, Jaci Velasquez, Mark Schultz, John Tesh, and Natalie Grant. But, on a whim, I thought I’d look up the artist and see what she was up to nowadays. Imagine my surprise when I found she had recently released an album. Of course, I had to have it.
Morgan’s first foray into a fully self-produced project, “Beautiful Bird” is good stuff. One listen and you can tell that she’s a little freer than her major label days.
“Lay Me Down” is a great start to the album. Jazzy, breezy, and haunting, Morgan does well on this bluegrass-inspired number. Co-written with Phil Madiera and inspired by the music of ‘O Brother Where Art Thou,’ this is a new direction for the artist and she seems to be right at home. But, Morgan hasn’t left her roots of contemporary Christian pop music. The second track “When It’s Love” is a return to form. It will remind listeners of her “Listen” days and she keeps things light and fun. It’s a delightful song that couples will easily resonate with. Ballads have always been where Morgan seems most powerful, though. This is no more clear than on the acoustic ballad “The Sun Shines Through.” Morgan has a knack for eliciting an emotional response from the listener—emotions the listener is often unaware they possess until they hear her music. I found myself with tears in my eyes at the end of this song and I’m still not sure why. Title track “Beautiful Bird” is a solid number and features Morgan at her vocal best. “Two Roads” is a clear-cut country number, which is an altogether different sound for Morgan, but she does well. In true Cindy Morgan fashion, the album closes out with a ballad, “In These Rooms.” Light, dreamy, and a little bit sad, it will leave the listener yearning for more music and a tad bit contemplative about what they’ve just experienced.
A multi-talented vocalist and musician, Morgan utilizes several different types of instruments for a very eclectic sound. She marries the piano to the cello, the lap dulcimer to the guitar. And, from track to track we are treated to vestiges of Appalachia, country, pop, and a host of other genres. While this would work against most projects, Morgan keeps things together, creating a truly organic, earthy event.
“Beautiful Bird” is a beautiful record by a seasoned veteran of Christian music. The independent road that Morgan has chosen to take has clearly opened up new creative avenues for the artist. One can only hope this trend continues. You can buy this album on iTunes, Family Christian Stores, or online at www.cindymorganmusic.com.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Jeremy Camp's "Speaking Louder Than Before": A Review | Posted November-16-2008
by C.E. Moore
Christian music’s “It boy” is back with a new bag of tricks. Okay, well he’s not back with a new bag of tricks. He’s back with 12 new songs that stick pretty close to the formula that’s made him intensely popular. Though, there is a certain maturity here that his previous works have lacked. In a nutshell: Jeremy Camp is poised to win yet another Dove Award with his latest studio release “Speaking Louder Than Before.”
Camp has always boasted distinct vocals and a big, crisp sound that draws the listener in. His lyrics have never been all that amazing, but they’ve been heartfelt and constantly find ways to connect with different audiences. “Speaking Louder Than Before” continues that trend.
“Slow Down Time” kicks things off and Camp establishes his firm presence. It’s a lyrical “Miss me?” to his fans and first time listeners. Tapping into that longing that many of us have to slow down time so that we can lengthen the intense moments that we share with God. At the same time, this song is radio-friendly enough that some might mistake it for a simple love song to a woman. “Capture Me” is a number that will likely hit the college worship circuit pretty quickly. Raucous guitars, strident drums, and powerful vocals—this is vintage Jeremy Camp. Title track “Speaking Louder Than Before” is also the lead single off the album and has already been making the rounds on Christian AC radio. It’s not the strongest offering on the album, by any means. In fact, it feels like one of those “obligatory” tracks thrown in to please a certain constituency in the Christian subculture. “There Will Be Day” is powerful. A great ballad, Jeremy Camp really shines and displays a newfound vocal dexterity. While it could be argued that Camp is a seasoned professional, he seems more comfortable here than he has in the past. His voice eases over the track, blending nicely with the instruments without ever being overpowering or underwhelming. The theme of the song is nothing new, yet Camp’s presence convinces me that it is worth playing more than once. “You Will Be There” boasts a nice orchestral feel and I can only imagine what this piece will look like in a live setting.
But, as with any album, there are some flaws. Actually, it is Camp’s professionalism and know-how that make the flaws so glaring. “I’m Alive,” in my humble opinion, is a total miss. I don’t know what it was, but it smacks of everything I hate about Christian music. The cheese factor is high as Camp treads Carman and Chapman territory. Not to mention, it just feels like a step backwards musically. If it had come out seven or eight years ago, sure. Now? Not buying it. “Giving You All Control” suffers from the same problem. It’s a “rocker,” if that’s what you want to call it, but it just comes across as childish and stupid. Middle school youth groups might like it. But, middle schoolers are becoming more sophisticated.
When considering the album as a whole, the pros far outweigh the cons. Camp is in a place in his career where he could sing about nothing at all and his fans would swoon. But, there is a level of maturity and comfort here not displayed in his earlier efforts. Jeremy Camp is growing up and so is his sound. Long time fans and new fans alike will enjoy “Speaking Louder Than Before.”
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Michael W. Smith's "A New Hallelujah": A Review | Posted November-04-2008
by C.E. Moore
Michael W. Smith has found his niche in worship music. First came Worship. Then came the aptly named Worship Again. Now, Smith returns with the album “A New Hallelujah.” And, while I like the album well enough, it’s really not new. With this release, Smith provides and amalgamation of fresh songs and songs that have been making the rounds for the past couple of years already. The album also features a few nice guest spots, such as the African Children’s Choir and Israel Houghton.
“Prepare Ye The Way” starts out the live event album on a solid number, but doesn’t necessarily break any new ground stylistically when compared to his earlier songs in the same genre. The next two songs “A New Hallelujah” and “When I Think Of You” both feature the African Children’s Choir. Both tracks rightly feature a decidedly African feel, but the addition of children don’t necessarily make the music stellar. “Mighty To Save” and “Shout Unto God,” both popularized by Hillsong United are done well enough, but they’re not as good as the originals. Given that the originals were also performed live, I’m not sure how things got lost in translation. Not bad. Not stellar. “I Surrender All” is the gem on the album, featuring lyrics sung in both English and Spanish. “Help Is On The Way” is also a notable addition to the project.
Usually, when I’m listening to a live album, I like to feel as if I were there. I know a live CD can never truly capture the electricity or the total energy of the event itself. Still, this latest offering really feels canned. Of course, this fact won’t stop the album from being a smash hit among worshiphiles and Michael W. Smith fans.
Overall, it feels like “A New Hallelujah” is a mixed bag. There are some tracks that are stellar. There are some that are just ho hum. The newer songs are the ones that really stick out. When it comes to Smith’s renditions of songs popularized by such artists as Chris Tomlin, Delirious, and Hillsong United, it felt as if things stumbled a little. It’s not a bad album, but it’s not as good as his previous two outings of this nature.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Ruth's "Anarok": A Review | Posted November-04-2008
by Camaren Stebila
It can be difficult to pinpoint that which separates a “band” from a “good band,” and a “good band” from a “great band.” While originality often divides the “good” from the “great” the qualities which distinct the “average” from the “good” can be quite subjective. Could an arbitrary measure of passion / “epicness” be the sole factor in determining this? What accounted for the Panic at the Disco fan disappointment upon “Pretty. Odd’s.” release, was it simply that they had “changed their style?” No, it couldn’t have been, for if this new style had been perceived for the better it would have brought the success the hype had anticipated.
While it may be obvious to most that music is extremely subjective, there must be a common scale to that which we hold it, or album’s such as Linkin Park’s “Minutes to Midnight” would not have been so ill received by both fans and critics. It’s mediocrity that cries fowl in our ears. Music that doesn’t have a sense of passion, or seemingly lacks purpose is that which is bound to be found in discount racks across music stores.
Ruth’s “Anorak” is the perfect example of said music. Opening the disc is “Hibernation Pieces” a track far from bad, but the embodiment of average. Take the smooth vocals of Aaron Marsh of Copeland, make them a tad monotone and put it over a bed layer of slowed down Sherwood guitar riffs and you have Ruth. Unfortunately most of the album follows suit with the opening track. From “Back To The Five” to “Rolling With The Punches” each tracks just feels bland. Crossing Surrogate and the Plain White T’s is “Miracle Photo,” yet something is missing that made “Hey There Dahlia” stand out from the rest of acoustic love songs.
Most of the lyrics are personal, written in first person. They survey categories from broken relationships, to life and love. This simplicity is an awkward breath of fresh air from groups such as Innerpartysystem or Genuflect, but at times feels like the listener is being subjected to the venting of a torn-apart frontman.
While Tooth and Nail generally sign and release great artists and albums, Ruth doesn’t seem to have the innovation or musical maturity to roll with rest of the roster. Although wanting to be far from overly critical, there is simply nothing that makes “Anorak” stand out. While the simplicity and calm aura that radiates from “Anorak” is a breath of fresh air, the record feels incomplete. If you enjoyed their first release, “Anorak” will likely be up your alley, if not there’s not much new to see here.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Skillet's "Comatose Comes Alive": A Review | Posted October-14-2008
by C.E. Moore
Skillet’s “Comatose Comes Alive” is quite possibly the best live Christian album I’ve heard in years. Come to think of it, it may be the best live rock album I’ve heard in years, sacred or secular. All I know is the DVD portion of this CD/DVD combo is the best Christian rock concert video I’ve ever seen. From the band’s stage presence to the camera shots to the digital effects inserted on the back end of things, “Comatose Comes Alive” is simply astonishing.
The album features 15 tracks (with 4 more acoustic tracks available online) with a majority of the tracks coming from the band’s last two studio efforts, “Comatose” and “Collide.” There are one or two tracks from earlier albums, but the bulk of it comes from the bands return to their rock sound. I won’t belabor things by talking about the songs individually. If you’ve heard either of the aforementioned albums, then you’ve heard what is presented here. This album isn’t about delivering new songs. This album is about harnessing the electric energy of Skillet’s live show.
And capture that energy is exactly what they did.
Generally speaking, something is always lost in translation between a canned experience and a live experience. One might even argue that a recorded live experience is essentially part of a larger canning process. But, vocalist John Cooper opens that can and releases a torrent of power that Skillet shows have become known for. In a way, I feel like the DVD experience is even better than actually having been there. Almost. While nothing will ever truly replace having “been there,” “Comatose Comes Alive” makes you feel as if you actually are part of the audience…closer even.
An added bonus to the show is the band’s inclusion of a cellist and violinist on the tour, as both “Collide” and “Comatose” featured a fair bit of strings to back their rock sound. It helped keep their sound authentic and definitely lent itself to the more ominous side of some of their songs.
“Comatose Comes Alive” is definitely something you need to add to your collection. If live CD/DVD combos are going to continue to be the way the record industry adjusts to the digital age, then Skillet has definitely set the bar high for anyone coming after them.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Lecrae's "Rebel": A Review | Posted September-30-2008
by C.E. Moore
Lecrae brings impressive weight in the form of his 3rd studio effort, “Rebel.” I wasn’t necessarily disappointed with his previous outing “After The Music Stops,” but I feel something was lost in translation when compared to his debut effort, “Real Talk.” With the exception of a few buttery hot tracks, ATMS didn’t capture the essence of its predecessor. Truth be told, “Real Talk” was my introduction to the Reach Records brand and it was earth-shattering for me, so nothing was going to follow and meet my expectations. But, “Rebel” is a return to form for the Reach emcee. Taking the best elements of both albums, Lecrae has returned to the studio booth with a measure of maturity and spiritual depth that betrays growth in so many areas necessary to the craft.
The album starts out with the 3-minute “Rebel Intro” that really sets the theme for the new project by using a sweet sample of Pastor Mark Driscoll making the claim that to be a Christian in today’s sin-soaked world is to be the true rebel. The John Piper-influenced track “Don’t Waste Your Life” kicks things into high gear and features Cam crooning over the chorus and rumored Reach Records newcomer (and resident Briton), Dwayne Tryumf sharing lyrical duties with Lecrae. “Go Hard” features Tedashii and Lecrae and T-Dot switch off, rapping, “Lord kill me if I don’t preach the gospel/Still in my 20’s but I’ll die if I got to…” “Indwelling Sin,” “Breathin’ to Death,” and “Truth” finds the artist standing on his own two feet without any guest spots. The tracks act kind of as a three-part story arc. The beats are slowed down, but fresh and startling in their relevance. “Desperate” will absolutely floor you. It’s not a banger. It’s not hard-hitting. In fact, it treads the fine line between hip-hop and R&B, oftentimes defying classification. This track is amazing in the respect that you can literally feel the heavy heart with which Lecrae spits his lyrics. The song comes from the POV of someone struggling with feeling as if their sin is keeping them from a close relationship with God. Everyone can resonate with this one. Label mate Trip Lee shows up on “Fall Back” and you can really feel his influence on the track. Recapturing the energy that made “Jesus Muzik” so hot, Lecrae and Trip have developed quite the rapport. What Bonafide and Coffee (Grits) are for party rap, Lecrae and Trip are for theologically-charged rap. This number bangs with a decidedly East Coast vibe crashing headlong into Trip’s Texas swagger. The album ends with “Beautiful Feet.” Here Lecrae “lands the plane” by doing what he does best—telling a story through rhyme. Listeners will definitely compare the style to “Prayin’ For You” from his second album. Newcomer Dawntoya adds a certain flare to the track during the chorus line that compliments the piece well.
A noticeable difference with “Rebel” is the amount of slow songs compared to the number of “bangers.” While there are certainly a few tracks that will have you dippin’ your shoulders, Lecrae has slowed things down considerably on this album. Its as if the artist wants the listener to really take in what it is he has to say. This can work for or against the album. In my opinion, it works. Lecrae isn’t a party rapper. While I’m sure the emcee doesn’t have anything against party rap, per se, he knows that he must tread the fine line between being culturally relevant/engaging and theologically sound. The one thing that was a little difficult for me was the amount of guest artists on the album. Half of the tracks on this project features another artist. To Lecrae’s credit, these guest spots are all stellar. But, having arrived at his third studio album, the artist need not rely on the abilities of others to prove himself to his listeners. His fans aren’t going anywhere, so that means Lecrae isn’t going anywhere for awhile.
I’ve been waiting for “Rebel” to drop for a long time now. Reach Records is always pushing the envelop with its artists and Lecrae’s latest is not exception. This is nearly sixty minutes of a straight-ahead gospel message wrapped in fresh hooks, tight beats, and amazing alliteration. Lecrae is an impressive artist who displays maturity in his craft, relationships, and knowledge of the Christian faith. Pick this one up!
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Newsboys' "Houston We Are GO: A Review | Posted September-30-2008
by C.E. Moore
It’s hard to believe that Newsboys was the first Christian rock band I ever heard. Jesus Music had existed long before the Aussies arrived on the scene, but they were the first group to catch my ear. That was a long, long, long time ago. But, the Newsboys continue to trek forward with there distinctive rock sound that has now endeared two generations of music listeners.
Truth be told, when the album “Houston We Are GO” (recorded live in Houston, Texas during the “GO Tour”) arrived, I was less than enthused. I mean, Newsboys paved the road for so many bands that have come (and gone) who have raised the bar in terms of what listeners ought to expect when listening to Christian music. Could Newsboys hope to deliver anything truly special?
Well, if you’re looking for new and exciting music, you’re not going to get it. This is a live concert experience that features all of the songs that made the Newsboys such a fan favorite in the late 90’s and early part of the new millennium. But, one thing the band has always done well is put on a live show for their fans. The album definitely captures the kinetic energy of the band’s live performance. Covering 10 of the band’s most popular tracks such as “Shine,” “Entertaining Angels,” and “He Reigns.” For good measure, the band throws in a couple of worship numbers to lead the crowd to a deeper place of intimacy with God during the show. The night ends with Peter Furler’s emotional testimony and a plea to audience members to consider the way of Jesus.
A few disappointment’s though. The first disappointment I had with this project was the overall quality of the DVD that comes with the album. I have seen a number of Christian concert videos such as David Crowder’s “Remedy Club Tour Edition” and tobyMac’s “Alive & Transported” and those projects were done with the same professionalism that characterizes their mainstream counterparts. The quality of the DVD that accompanies the live Newsboys album is just plain poor. At times it looks as if someone used a Handycam to simply bootleg the concert. Second, while I am all about artist testimonies, I wish Furler’s testimony had been a bit shorter—it clocked in at just over 11 minutes—and I also wish that the album had ended with a song, rather than with the testimony portion of the concert. It felt as if something were missing.
After all these years the Newsboys still know how to put on an electrifying show. I oftentimes had to remind myself that I wasn’t actually at the concert itself. The sound quality is clear and crisp. Some might frown on the fact that their music essentially preaches to the converted. I don’t think the band would deny that fact. The fact is, this band still knows how to rock and they do so with the fervor of a band half their age. The Newsboys still have it people.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Anberlin's "New Surrender": A Review | Posted September-26-2008
by Camaren Stebila
In 2007 Anberlin caught the music world off guard. Surpassing their previous two releases, “Cities” was their most mature, insightful and memorable album to date. Critics raved, fans praised, major labels paid due attention, and early in 2008 the group announced a signing with Universal Records. While the move seemed somewhat sudden, it was long overdue, as only a label such as Universal could bring the resources and publicity that could realize the full potential of Anberlin.
Expectations for “New Surrender” are of the highest caliber. “Could they really outdo ‘Cities’?,” “Could such a CD be written, recorded, produced, and released less than a year and a half later?,” “What sort of effect would their signing with Universal have on their sound?” And although so little time has passed since their previous release, their fourth, and first major label, record “New Surrender” indeed lives up to the hype.
Opening with the rather intense “The Resistance” fans will be reminded of why they fell in love with the band in the first place. Following is the equally powerful “Breaking”, its verses and choruses mixed with emotionally soaked vocals, driving riffs, and heart wrenching lyrics. A fan favorite “the Feel Good Drag” which made its initial appearance on their sophomore effort “Never Take Friendship Personal” has been re-recorded, and although it will be debated for better or worse, brings a fresh take on the four year old song.
The album’s ballads are stellar, and the quasi-title track “Breath” is bound to keep even the newest listeners singing along. Continuing with highlights: the anthem-styled single “Disappear,” the slightly radio friendly “Haight Street,” and the depressed yet hopeful “Soft Skeleton,” which tells the story of a young women bound by a drug laced lifestyle further solidify an already solid album. As with the final tracks on the last two records, “Dance Dance Christa Paffgen” and “*Fin,” “New Surrender” closes with the epic six an half minute “Miserabile visu (ex malo bonum)”
Although there were a few moments which produced a nostalgic longing for the more epic “Cities,” with an array of well-crafted tracks “New Surrender” can stand on its own. A sort of spirituality penetrates the disc, and will be refreshing to many who tire of the music scene’s typical topics. If anyone has yet to jump on the Anberlin bandwagon the time is now, it’s taking off at full speed, and doesn’t look to be slowing down anytime soon.
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
Field of Blood: A Review | Posted September-26-2008
by Jake Chism
In 1989, a work crew outside of Jerusalem accidentally discovers an ancient burial chamber beneath the field where Judas Iscariot hung himself. In the shadows, evil spirits, known as Collectors, wait for a new opportunity to once again take on human form to bring destruction to the world. As the Collectors claim the bodies of the dead they discover new power from the blood of Judas that was swallowed up by the earth when he died. Armed with evil intent and a never ending thirst for blood, the Collectors seek to destroy their immortal enemies who draw life from the blood of the Nazarene. Caught between both sides, a young Romanian girl is about to discover she is far more important than she could ever imagine.
Eric Wilson blends history and fiction seamlessly in this astonishing beginning to the Jerusalem’s Undead Trilogy. Field of Blood is being marketed as a Christian Vampire story, but in reality this is so much more. Fear not bloodsucker fans, there are plenty of vampires to go around and Wilson’s original approach to a widely popular genre is excitingly fresh and innovative. However, Wilson has successfully done what few have even attempted: blending vampire lore with Christianity. The result is a wondrous story that is thrilling at every turn, consistently eye-opening, and ultimately inspirational.
Wilson’s characters leap off the page drawing us ever deeper into this wonderfully complex story. These villains are evil to the core and we are never spared a detail in the frightening bloodshed and carnage they bestow. The heroes are wonderfully flawed, endearing, and even infectious in their perpetual stand for righteousness. As the story progresses we are whisked from location to location with stunning detail. Whether it’s Jerusalem, Romania, or even Chattanooga, Tennessee, Wilson effortlessly convinces us we are along for the ride. Eric Wilson’s faithful fans will also love the subtle connections to his previous works that are laced throughout the story.
Field of Blood will no doubt spark controversy and I’m sure many readers will hear the words “Christian” and “Vampire” in same sentence and run for the hills. Unfortunately for them, they will miss out on what is not only Eric Wilson’s best novel to date, but easily one of the most powerful and inspirational novels I’ve read in years. This is intense and edgy writing to be sure, yet nowhere will you find the redemptive power of Christ’s blood explored so brilliantly in fiction. And the best part? There are still two more books to come! I’ve had my taste and I am so thirsty for more….
This review has been reprinted on NRT with permission from The Christian Manifesto. Click here to visit TheChristianManifesto.com today!
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