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...
Storytelling Songs | Posted April-06-2016
In an era when electronic, hyper-processed musical tones are the norm, there is a deep need for balance provided by organic instrumental backdrops and more complex, thoughtful lyrics. That is the kind of balance that The Gray Havens seemingly effortlessly provides.
A year after the release of Fire and Stone, a project which made waves with the unique storytelling musical chemistry of husband and wife duo Dave and Licia Radford, The Gray Havens returns with Ghost of a King. The title instantly introduces some of what you can expect from the album's content: intriguing, ethereal imagery layered into lyrics reminiscent of classic folk ballads.
This kind of style is evident from the outset with intro track "Ghost in the Valley," which begins with the words "I met a ghost deep in the valley." A narrative weaves through the songs from that point forward, taking us as listeners on a musical journey. Title track "Ghost of a King" epitomizes this story-telling style and is the truest folk ballad on the album, detailing a conversation between the traveler and the ghost of a king. The results are striking and instantly unforgettable.
Although many of the songs fall in line with that narrative and musical thread, the album takes too many side paths along the way to be a true concept record. "Band of Gold" is a duet love song reminiscent of cuts from recent Jon Foreman EPs. "Diamonds and Gold" introduces a slight electronic edge to the indie-folk sonicscape, reminding of early Paper Route as it turns the focus towards the treasures that will last. Mostly instrumental interlude "A Living Hope" follows this same musical trend.
Although leaning on story and metaphor, it's consistently clear that the story being told is one of redemption, similar to the lyrical habits of Andrew Peterson and Jason Gray. "Take This Slowly" centers around a prayer, requesting grace from God to take these transient days one moment at a time ("I'm just asking for grace to carry on / grace to take joy in my place at the table and the rock that it's standing on"). Redemption-centric "At Last the King" beautifully casts the incarnation in language of analogy: "I will go, I will make a way home / And I will bleed like the enemy / In the dark, in the shadows, light has come." This album satisfies artistic and spiritual appetite in equal measure.
The Bottom Line:Ghost of a King is folk pop at its best, providing just musical accessibility to draw in a broad spectrum of listeners and lyrical depth that keeps us digging. This album promises to cement The Gray Havens' status as one of the most promising indie darling acts of 2016.
Infectiously Alive | Posted March-01-2016
It would be near impossible to name another artist as dedicated to their craft as The Rocket Summer's Bryce Avary. With a relentless work ethic tempered by just enough sunny pop attitude, the one man band's brand of alt rock has been a mainstay from the early days of songs like "So Much Love" and "Do You Feel" through more mature offerings like "Walls" and "Just For a Moment Forget Who You Are."
Zoetic is the latest studio offering from The Rocket Summer, a project fans waited four years to hear. Bryce Avary holed himself away in his personal studio, took a break from touring, and dug deep into the recesses of his creativity to birth his most edgy project yet-- a record which, suitably given the title (which means "of or relating to life, living, vital"), feels infectiously alive from beginning to end.
Lead single "Same Air" is a great example of this album's larger-than-life aura. With some electronic elements providing the pulse and vocals that range from ethereal and clear to gritty and forceful, the song expresses a kind of transcendent unity with the lyrics "everyone and everything, every soul, every being / the same air we all are breathing, one shared pulse collectively beating."
Bryce Avary has expressed that he feels this is the heaviest album musically he has ever produced, and it's a statement that is given weight by songs like "UNI" with its infectious guitar groove and the quirky but introspective "Get Over It." The incredibly catchy "FL, CA" talks about an explosive relationship ("hey I warned you, it's a mess, she's a hurricane and you're Florida / she's California and you're an earthquake"), propelled by bombastic guitar riffs.
Lyrically, Zoetic draws to the fore a hallmark The Rocket Summer trait: an ability to evoke both bittersweet nostalgia and vivid hope that is keenly immediate, often in the same song. "White Fireworks" is a standout track that reminds of early 2000s alt rock club shows with its musical grit while walking through vivid imagery: "I wait for it, the white fireworks erupt and my heart is whole again." Lush, electronic "You Are, You Are" offers an earnest voice of redemption in the lyrics "when the night sheds a light on the guilt, you're beautiful. / When memories of failed attempts fire at will, you're beautiful. / When hate like sheets of rain drown your hope once plentiful, you are, you are / still are, still are / you are beautiful."
As Zoetic wraps with "Sharks" and "Emergency Landings," two tracks that draw from The Rocket Summer legacy while upping the energy and musical ante, it's clear that this album strikes the balance beautifully between innovating and preserving the best of an already established sound. The vibrant album plays like the soundtrack for a roadtrip or a summer adventure-- a role it is doubtless going to fill for many.
The Bottom Line: Fiercely alive, comfortable in its own skin and effortlessly embodying the best of the alt rock ethos, The Rocket Summer's Zoetic promises to hold up to countless repeat plays.
Screaming Against the Shadows | Posted February-12-2016
There are occasional key voices who are seemingly divinely placed in the right corner of culture at the right time to speak desperately needed truths. Lacey Sturm is one such voice.
The hard rock vocalist worked tirelessly in her role with Flyleaf to carry messages of life to the most desperate hearts through her powerful screams and even more powerful testimony. Although it's been over three years since Lacey stepped down from Flyleaf and her vocals were last heard, she hasn't been silent in the time intervening. Her first book, The Reason: How I Discovered A Life Worth Living, told her story and spoke to a generation in a whole new way.
Lacey's debut solo album Life Screams could in many ways be the soundtrack to the story told in that book. The songs walk through the place of soul-searing emptiness that comes from tasting all the beautiful vices the world has to offer and coming up empty, leading towards an encounter with a God who satisfies every empty place in our spirit with His unbreakable love. Lead single "Impossible" encapsulates this message, ecstatic screams declaring that even the breath in our lungs is a sign and a wonder from God, proof of His grace.
One of the first questions of longtime listeners is likely to be whether or not Lacey carried the heavy sound in early Flyleaf projects to this new venture. The first few tracks immediately answer that question with rich, grungy guitar riffs and otherworldly screams. Songs like "I'm Not Laughing" (with its cleverly grating, half-mocking guitar riff) and the haunting "Rot" (complete with a chilling conversational intro found in "Vanity") explore the empty places of this world with a raw honesty that cuts to the core. "Feels Like Forever" captures the collision of those dark places with the blinding light of God's holiness and redemptive love.
Heartfelt "Not Alone" is another album highlight, expressing through a soaring melody the truth that although human hearts will never be enough to save each other, we can point each other towards the eternal Love that can. "Life Screams" and "Faith" take a softer tone both musically and thematically as they display the joy of walking in divine light.
The fact that the album is largely structured to move from the dark, heavy tracks into songs of restoration and life creates an internal narrative that draws the listener in from beginning to end-- a rare feat for an album in a world increasingly fixed on singles. The only moment that feels like it deviates slightly from this story is a poignant live cover of The Police's "Roxanne," reimagined with redemptive lyrics.
The Bottom Line: With Lacey Sturm's Life Screams, the first major rock release of the year may also be the best. Deeply satisfying gritty guitar, chilling vocals and lyrics that speak hope into places of absolute desperation make Life Screams a vital addition to the rock genre, and to a world desperately needing to hear there is Life screaming in even the darkest places.
Songs for the Thirsty | Posted December-22-2015
John Mark McMillan is a unique voice in the increasing clamor as worship music has taken precedence on stages and airwaves across the country. Ever since the days of early tracks like "Death In His Grave," "Skeleton Bones" and the incalculably impactful "How He Loves," McMillan has displayed an uncanny ability to bridge the gap between standard corporate worship and the disillusioned and soul-thirsty, inviting hearts into praise with a winning sincerity and lack of contrivances.
His latest release Live at the Knight exhibits those same characteristics, capturing a beautiful blend of reverence and energy in a live recording created in partnership with Jesus Culture. The evening's setlist centers around songs from most recent full length album Borderlands. This places the tone for the project in the neighborhood of reflective and soul-searching but ultimately triumphantly fixed on the changeless love of God, as a beautiful rendition of "Future Past" in partnership with Kim Walker-Smith demonstrates well.
The bombastic, soaring divine narratives like "Guns Napoleon," "Love at the End" and "Death In His Grave" (complete with horns) capture an uncontained energy in this format that lends a new dynamic to how the songs are engaged. The big musical moments are punctuated by McMillan's wry humor and unassuming humility as he speaks between performances.
Part of this project's power is in its collaborative nature. In addition to "Future Past," Kim Walker-Smith also sings on "How He Loves"-- a fitting combination given that Kim's version of the song was part of what brought it to prominence. Bryan and Katie Torwalt appear on "Death In His Grave" and "Heart Runs," respectively. John Mark McMillan has been collaborating with his wife Sarah McMillan in increasingly visible ways (such as on recent joint project You Are the Avalanche), and this live album continues that trend with Sarah appearing on "Glorious Things" and their beautiful co-written track "King of My Heart."
The Bottom Line:
If a lot of contemporary worship has begun to feel dry and sterile, this rowdy, passionate set of live songs might be exactly the refreshment you need.
On the Cutting Edge | Posted December-09-2015
Rock group Spoken has spanned much of the heaviness spectrum in the years since their inception in the late 90s through their Tooth & Nail years in the first decade of the 2000s, landing firmly in the post-hardcore genre by the release of 2013's Illusion. Now with the release of independent, fan-funded album Breathe Again, Spoken shows yet another side of their musical capabilities.
Helmed by the consistent presence of vocalist Matt Baird, who is currently backed by guitarist Scoop Roberts and drummer Isaiah Perez, Spoken presents an album which focuses in on some of the lighter musical elements found on Illusion. Tracks like opener "Walking In My Dreams" instantly display a focus on clean vocals and melody as the driving force, although there is a definite occasional undertone of grit and growls (see the brooding track "Poison in the Air").
The guitar tones also lean towards tight and searing with less heavy distortion, with songs like "Hold On" and album highlight "Hollow and Untrue" showing a masterful hand at incorporating just enough electronic elements to augment the guitar tones. Single "Falling Apart" flawlessly employs dual guitars in a piercing riff that builds into a memorable melody. The sound that is ultimately built mirrors the new wave of post-hardcore groups leaning into a slicker, electronically informed hard rock sound, a movement led by recent releases from mainstream acts like Bring Me The Horizon, Of Mice & Men and Asking Alexandria.
Throughout the album's 12 song span (with an additional intro and outro), the lyrics recognize brokenness while calling out to darkened hearts that there's something more for them. Confessional title track "Breathe Again," featuring stand out Memphis May Fire vocalist Matty Mullins, captures this theme in its piercing second verse: "I was broken, I felt the pain so deep inside. Never wanted to remember, so I kept it out of sight. I am hopeless, I'm nothing more than just a man-- the fire burns within me, the fire makes me who I am."
Although the core message throughout is hopeful, Spoken doesn't shy away from the reality that hope is often a messy process. "Surrender" explores the pain we can feel when someone we love chooses to stay in self-destructive cycles. "Your Memories Are Alive Again," another album highlight, walks a difficult road towards healing and forgiveness. The source of healing is clear throughout however, with "Take My Breath Away" taking an almost worshipful stance as it declares "these words could never prove to you that all my life belongs to you. I'll be chasing you forever, our hearts belong together."
The Bottom Line:
With Breathe Again, Spoken proves themselves to be on the cutting edge of the best elements of hard rock: haunting combinations of guitar tones and electronic elements, smooth vocals sending melodies soaring and lyrics that are as honest as they are ultimately redemptive.
Song to Download Now:
"Breathe Again (feat. Matty Mullins)" (Get it on iTunes here.)
New Territory | Posted November-24-2015
Jason Wilkes's impressive singing and songwriting resume includes years as the frontman of rock group High Flight Society, followed by three years behind the bass and offering backing vocals for hard rock outfit Disciple. That kind of experience would be significant enough, but it's only scratched the surface of Jason's creativity, which has also been poured into the music he's been writing on his own for years. This year some of those gems are finally being unearthed in the form of the Shells EP, released under the musical heading WILKES.
It's immediately apparent that these songs offer something quite different from the rock and roll contexts Jason's voice has been heard in before. "You've Got a Hold On Me" offers a catchy pop melody over just enough of a bass groove to keep the track grounded, supporting lyrics stating the tenacious hold of God's love. "One Star" shows a similar pop approach, a sound suited to Jason's smooth vocals as it expresses the compassion God shows in entering every detail of our lives: "Surrounded by magnificence, I feel so insignificant / but somehow You find ways to keep reminding me that You're everywhere. / I see one star, one star, alone in the sky / it's giving me hope tonight. / I'm just one heart, one heart, feeling lost in the crowd / but I know You see me now."
Although this is definitely a pop release, it shies away from the heavy-handed production mechanics and slickly over-shined facade of many contemporary projects. Jason Wilkes and his team of instrumentalists (Shane Cole on guitar and Ike Thurston on drums) never hide behind too much synthesized sound, displaying an artistry that keeps the songs balanced. "Pursuit" is the most raw of the tracks, taking a primarily acoustic approach.
The thematic bent of this collection of songs is worshipful without ever feeling contrived-- a balance that many similar releases struggle to strike, but that Shells achieves admirably. "Come Now Rain Down" is expectant and earnest, inviting the presence of the Spirit. "Wrecked" captures the raw emotion of moments when we are completely undone by an encounter with God, a theme served by the haunting interlude "The Reckoning Prologue," which shows off the slightly otherworldly timbre of Jason's voice.
In addition to rich moments of worship, Shells also holds an edge of honesty. Closing track "What Are We to Do" explores the shell-shocked aftermath of the sudden and tragic passing of High Flight Society's drummer some years ago. "Shelter" is upfront in its plea for comfort and covering amid life's storms: "it's in the rain, when I'm defeated and I'm ashamed / I feel you the most. / When waters rise, I won't be taken by violent tides / because You hold me close."
The Bottom Line:
The Shells EP beautifully marries substantial lyrics with smooth pop sounds, a combination perfectly suited to veteran vocalist Jason Wilkes's soaring vocals.
Redemption Dawning | Posted October-28-2015
With Dawn, the four EP musical journey into Jon Foreman's The Wonderlands draws to a conclusion. With unique but complementary strengths brought to the table with each EP, there was certainly both curiosity and anticipation built up entering the final six song installment.
Dawn proves to be the most spiritually redemptive of the EPs, harkening back to Foreman's first set of Seasons EPs with its frequent use of near-direct quotes from the Bible. "Run Free," a track calling listeners to run from shame into restorative joy, opens by quoting Isaiah 61 directly. "Inseparable" is a creative re-envisioning of Romans 8, declaring that nothing can keep us from the love of God: "not the past or the future, not the highs or the lows / neither hunger nor wealth, not in sickness or health / not the left or the right, not the day or the night / nothing can keep us away."
This collection also contains two of the most direct lovesongs of The Wonderlands. "Inheritance" is an autobiographical piece tracing Jon's history with his wife, offering the earnest and instantly memorable line "I want to be rich in memories not money, our love is our inheritance, honey." "When We Collide" features bright-eyed love poetry over shimmering acoustic guitar and piano.
Musically, the production on these tracks is the most light handed of the set, with the instrumentation left feeling mostly raw and organic. "Mercy's War," a new hymn in the tradition of old southern spirituals, utilizes simple but effective acoustic guitar, woodwinds and a choir to accentuate the old school sound. "Before Our Time" pulls on the thread of mortality that has run throughout these EPs while giving it a more joyful spin. The track features acclaimed violinist and vocalist Sara Watkins (Nickel Creek) to lend a folk vibe to the simple sonic landscape.
Closing Thoughts:
The joyful, musically airy tone of Dawn breathes light back into The Wonderlands after Darkness, while also providing a hopeful momentum that could easily loop back around into Sunlight. This final installment ties the masterpiece together, and (as the title would imply) proves to be the most upbeat and redemption-focused of the four EPs. Dawn also stands on its own. Jon Foreman continues to demonstrate his knack for utilizing scripture lines with so little sense of contrivance that you barely realize he's quoting well-tread ground, an ability which sheds new light on concepts that have become perhaps overly familiar. Musically, this collection captures the raw and unrestrained atmosphere of a Jon Foreman aftershow, alive with the sense that anything could happen.
Dawn provides us with a satisfying yet bittersweet conclusion to The Wonderlands, a collection of songs which has spanned the concepts of time, mortality, sorrow and redemption through some of the strongest songwriting heard all year. The now-complete set is not to be missed, providing the opportunity for many repeat journeys through the beautiful musical landscape of The Wonderlands.
Electronic Light | Posted October-23-2015
Denver-based Transform DJs is a group of three DJs focused on presenting electronic dance music that has been transformed by the power of Christ. Their hope is that it would reach an audience rarely addressed by the gospel message through high-energy live experiences and electrifying albums.
The latest studio project from the group is Never Alone, an album full of tracks that musically would be at home in a club or at a dance party while lyrically they explore foundational truths about who God is and what our relationship with Him is like. One of the highlight tracks, "Catch My Fall," beautifully demonstrates the group's ability to infuse edgy EDM sounds with deeply honest prayers. Opener "Valley" shows a similar strength, proclaiming God's faithfulness in the valley of the shadow of death over a rhythmic, danceable beat.
The title track "Never Alone" is a moment of musical variance in the project, creating a more accessible electro-pop sound with more straight-forward vocals and lyrics to declare "never alone, never alone / the waves come crashing, you're never alone. / Never alone, never alone / your world falls apart, you're never alone." This song has a structure many listeners will find more familiar and easy to engage.
Another strength of the album is its ability to create a dark musical atmosphere that still proclaims the presence of God. As the tracks progress, the theme of assurance that we are not alone even in the darkest moments of life unfolds beautifully over brooding electronic tension. "Fortress" is another standout moment as a rich, textured sonicscape backs the declaration that God is our fortress. "I Feel You" introduces a slight reggae tone as it explores that theme, declaring "even in the valley I can feel the sun."
Towards the end of the album, some of the tracks take a more upbeat turn, with "Voices" speaking in empowerment and solidarity as the redeemed Body of Christ, fighting to bring freedom to a hurting world. Eternity-focused "Forever" has a similar encouraging tone.
There is certainly a sense at moments that this album would be better experienced live, that the studio interpretation is not quite equivalent. This is to be expected however, given that DJing is an artform largely intended to be engaged in a live setting. Much of the group's relentless energy does manage to translate to these tracks though, as is evident on gritty "Can't Take It" or ethereal trance-influenced "Transfer."
Closing Thoughts:
Although some electronic-leaning bands bow to pop sensibilities to achieve wide Christian market accessibility, Transform DJs earn my respect by sticking to their mission with this project: it is techno-influenced EDM, with each track structured accordingly. Dance and trance music fans live largely in a vacuum when it comes to groups that actually present hopeful, Spirit-breathed lyrics, and this project is a deeply needed effort to fill some of that void. Better still, it's executed well. If you're an EDM fan looking for some light in an often dark genre, Transform DJs' Not Alone is well worth picking up-- or better still, worth finding a chance to experience live.
Timeless Truths | Posted October-19-2015
Hymns are such a beloved, timeless part of the liturgy and legacy of the past few centuries of church history that recording them in a contemporary setting takes a certain amount of courage and reverence. Few artists are as qualified to take on that challenge as Michael O'Brien. The veteran singer and songwriter has over two decades of experience in crafting faith-based music, most notably as the lead singer of Newsong for 7 years. This experience lends a maturity immediately evident on his latest album, Psalms, Hymns & Spiritual Songs (referencing Paul's exhortation to believers in Ephesians 5:19).
One of the things that allows this album to succeed is that Michael does not set out to reinvent something already treasured and effective for hundreds of years. Classic hymns like "There Is A Fountain" a deep sense of familiarity still intact that evokes both nostalgia and reverence. Even when songs like "Solid Rock" are given different tunes than those they have usually been sung to, the melodies remain close enough to the traditional sound to keep them accessible.
This is not to say that the songs are dull through over-familiarity, however. The musical landscape built feels as timeless as the truths in the hymns. "When this Passing World" has a haunting arrangement that borders on Celtic in its musical tones. "From Depths of Woe" beautifully uses an ethereal choir. Even instrumental offerings like "Solitude" and "Onward" stay engaging while providing space for quiet reflection between each weighty hymn. Michael also chose a new "hymn" to record, offering his take on Matt Maher's "Lord I Need You." The song fits so well with the traditional liturgical tone of the other tracks that it would be easy to assume it has the same kind of history, despite its very recent origins.
Michael also chooses some lesser known pieces, like "Safe In the Arms" (written by prolific hymn writer Fanny Crosby), introducing these rich lyrics to a generation who may have never heard them: "Jesus my heart's dear refuge Jesus has died for me / Firm on the Rock of Ages ever my trust shall be. / Here let me wait with patience, wait till the night is over / Wait till I see the morning break on the golden shore." Charles Wesley's "Thou Hidden Source of Calm Repose" is renamed "All in All" and performed with a new, energetic chorus. The mention of "psalms" in the album's title becomes literal with "Psalm 13," which sets the Psalm of David to earnest, haunting music.
Closing Thoughts:
Michael O'Brien's Psalms, Hymns & Spiritual Songs is reverent and traditional enough to appeal to an audience who may have grown up singing these songs in their youth, while marked by contemporary production conventions and energy that could bridge the gap and introduce these songs to younger generations. As a rare listener who spent my 90s church childhood singing hymns only rather than the contemporary choruses of the time, I found the project to be both a beautiful tribute and a refreshing way to draw these lyrics back to mind. The truths in these psalms, hymns and spiritual songs are just as powerful and timeless as Michael's seasoned voice, making this project perfect if you've yearned for something a little different for your personal moments of reflection, prayer and worship.
Song to Download Now:
"When This Passing World" (Get it on iTunes here.)
Master Song-crafting | Posted October-08-2015
Veteran artist Andrew Peterson has established himself as one of the most skilled songwriters in the business, crafting his lyrics in the tradition of writers like Rich Mullins through compelling imagery and striking honesty. His latest album The Burning Edge of Dawn demonstrates the way this sound has been honed, allowing Andrew to offer up strikingly mature and stirring lyricism.
The opening title track's bridge sets the tone for this album with a perspective suspended between the aching realities of heartache and the truth of a Kingdom present now but not yet fully realized: "I had a dream that I was waking at the burning edge of dawn / and all that rain had washed me clean / all the sorrow was gone." "We Will Survive," which is augmented by a delightful folk tone through dulcimer and its storytelling manner, expresses the same tension in the lyrics "tell me the story I still need to hear, tell me we're gonna make it out alive again / I need to know there's nothing left to fear, there's nothing left to hide."
Some of the songs on the album prove startling, uncovering concepts in ways the listener may never have heard before. "Be Kind to Yourself" talks about our human propensity to put ourselves down and self-sabotage, becoming our own worst enemies. The song encourages the listener "you've got to learn to love, learn to love, learn to love your enemies too," even when the enemy is yourself.
Musically, the album is soothingly organic, with steady melodies building from dynamic piano beds and gently placed guitar. Melancholy "The Rain Keeps Falling Down" (featuring a well-suited vocal appearance from Ellie Holcomb) is an example of this style, its introspective musings and cry for peace smoothed by strings. The musical arrangements demonstrate the power of restraint, displaying a persistent refusal to add anything to a song that doesn't absolutely serve its core musical and lyrical concept. "My One Safe Place," a poignant and tender track written for Peterson's wife, also displays this intentionality.
Closing Thoughts:
Every single line and lyric on The Burning Edge of Dawn could be isolated, printed on its own and still savored as poetry. There is not a single empty frill in Andrew's chosen rhetoric; the rich sense of vivid wonder grounded in a deeply redemptive theology suggests what it might have sounded like if cornerstone faith author C.S. Lewis had written songs instead of books. More than just being an artistic feat, this is an album full of songs for weary and wandering hearts to cling to this side of the dawn. The Burning Edge of Dawn holds easily the strongest, most grace-drenched songwriting you will hear this year.
MaryNikkel_NRT's Music and Book Reviews 
