Vagabonds
by
The Classic Crime The title to The Classic Crime's latest long player implies a certain need to travel; and while the alternative rock act is no stranger to touring, the inspiration actually comes from a more missions-minded...
Eternity Invades
by
Vicky Before UK born and bred singer/songwriter, Vicky Beeching, began her pursuit of professional music she enrolled as a theology student at Britain's renowned Oxford University to ensure her spirit-led songs...
Miracle
by
Robbie Seay Band Quick disclaimer: What I don't mean to say is "if you've heard one Robbie Seay Band album, you've heard them all." At the same time, RSB's latest batch of worshipful pop/rock tunes, entitled Miracle, features...
RELENTLESS AND EXPANSIVE THIRD ALBUM | Posted August-18-2009
Every knob is fully cranked on Constellations, the latest from August Burns Red. The blistering guitar solos and frenetic percussion found on 2007’s eventual hit Messengers remains, yet the Pennsylvania act seems intent on taking things to the next level. And for fans of the metalcore quintet, that’s great news.
The growls are deeper. The guitars ascend and descend higher and lower than ever. Melodies give way to intense screams and then take hold again. In other words, Constellations’ dynamism sets it apart not only from ABR’s previous offerings but from other like-minded releases. Producer Jason Suecof (All That Remains, Trivium) continues to showcase his ability to deftly mix intense elements into one cohesive mix, especially on more epic tracks like “Paradox.” Jake Luhrs’ growls and Matt Greiner’s drum work are in fine form, riffs rising and falling like thrill rides at a theme park.
Other tracks like “Oceans of Apathy” and “Crusades” continue the onslaught; the latter’s riffs are particularly impressive, closing Constellations with a near inhuman burst of energy. After selling 80,000-plus units of Messengers and impressive tour spots with As I Lay Dying and All That Remains, in addition to their own headlining dates, Constellations should emerge as one of the more promising metal releases of the year. —Matt Conner
TOOTH & NAIL VETS KEEP HARD ROCK AND MINISTRY CENTRAL | Posted August-18-2009
Hard rock chiefs Project 86 have become famous for pushing alternative rock to the limits. In addition, the provocative trio has earned a reputation for slaving over hardcore messages that match their palpitating musical palette. Pounding questions into the psyches of both Christian disciples and questioning seekers for over a decade, the Tooth & Nail veterans unabashedly proclaim their faith as the backbone of their smashing music.
And the band’s seventh full release, Picket Fence Cartel, continues the strains of surrendered resolve. “The Butcher” issues a chorus of salvation-centered defiance to those who threaten to destroy our lives, screaming, “There is no weapon/There is no blade/You wonder why I’m not afraid . . . You’ll never kill Him that lives inside of me.”
Encouraging listeners to worship in spite of circumstances, “Cement Shoes” reveals a collective catechism: “Desperate we will proclaim/That on our knees we’re not ashamed/And so we vow to kneel before You.”
Tailing their most successful record to date, Project 86 forfeits the synth-driven detours of Rival Factions to produce more of its down-home goth rock. The experimental group is infamous for ambiguous and often vague lyrics, and while Picket Fence Cartel is still full of dark scenarios and poetic charm, it’s underlined with a creed-like theme of basic belief.
This project is sure to meet and exceed any expectations the industry and more importantly, fans, have conjured since Project 86’s last release. —Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
AN AMPLE ODDS AND SODS COLLECTION | Posted August-18-2009
After kicking off their career in 1993, indie innovators Starflyer 59 have pretty much released a full-length CD or EP each subsequent year. Along the way, the Jason Martin-led band of ever-changing backers has continued to evolve, evoking everything from shoegazing simplicity to psychedelic explorations to straight up indie pop. There’s a little bit of each era, plus a whole lot of randomness, on this 31-track collection that uncovers a series of demos, B-sides, covers and non-album versions of previously released songs.
Given that specific scope, Ghosts of the Past best serves faithful fans rather than new listeners, but both camps are likely to find several intriguing odds and sods throughout this generous track listing. One that immediately stands out is an unplugged cover of The Church’s ’80s staple “Under the Milky Way,” where Martin casually croons the unforgettable chorus and substitutes electric guitars for atmospheric keyboards. The synth-tipped direction also permeates Starflyer’s incarnation of “Easy,” but plugged-in guitars and eerie bass lines give it an aggressive underpinning.
“Pearl of Great Price” is remarkably hypnotic and gradually builds in intensity to wrap up in a sea of cacophonic percussion. As is generally the case in the Starflyer songbook, not all the tunes are that fleshed out, such as an acoustic version of “Mr. Martin”; while incredibly intimate in these stripped-down settings, it appears half-baked from a production perspective. Of course, that’s the random nature of this compilation and a selling point die-hards are sure to devour, even if it isn’t meant for everybody. —Andy Argyrakis
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
WORTHY EXPANSION TO GLORY REVEALED SERIES | Posted August-18-2009
These “Various Artists” projects are quite unpredictable. Some can become “Album of the Year” candidates, full of life, power and creative possibilities (i.e., CompassionArt, City on a Hill). Others merely seem like thrown-together collaborations to make a quick buck. Luckily, the Glory Revealed series proves to be a worthy entry with a decidedly Americana flavor and focus on Scripture in song.
“How Great” begins GRII with a fantastic front-porch feel evoked by a tinge of bluegrass and a good-times vibe. Mac Powell, Shane Everett (of Shane & Shane), Brian Littrell (Backstreet Boys) and Jonathon Shelton all collaborate on this strong first step. Powell again joins with Amy Grant, Ed Cash and Matt Maher on “Since the World Began,” a “God of Wonders”-esque tune that should garner radio spins and attention in churches nationwide.
Natalie Grant and Laura Story create an Allison Krauss feel on “Praise the Lord,” and it’s easy to recall Story’s background with Five O’Clock People on this track. Another foot-stompin’ tune, “Wake Up, Oh Sleeper,” gives NEEDTOBREATHE vocalist Bear Rinehart room to truly shine. His raspy voice is as rousing as the soulful, spiritual rhythm. Bethany Dillon and Shawn Lewis find some Nickel Creek–styled musicianship as the backdrop for their Psalm-like turn “Never."
Some tracks remain rather dull, slightly dampening the mood. “Rejoice in the Lord,” which features Casting Crowns singer Mark Hall and Trevor Morgan, comes off as a decades-old Maranatha song. “What We Proclaim” also feels a bit tired amidst some of the more enterprising arrangements. However, these songs fail to ruin an otherwise good and glorious time.
This latest installment in the Glory Revealed series is every bit as imaginative, enjoyable and inspirational as the first. And fans would be remiss to leave this one on the shelf.
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
HERE COME THE ANTHEMS | Posted August-18-2009
Let’s admit that an intro isn’t even necessary here. After all, even those who normally hide under rocks from popular culture are aware of Chris Daughtry and his namesake band who stormed up Billboard charts like few artists in this digital age. The “American Idol” contestant took millions of listeners “Home” with him and set Soundscan records for his band’s fast-selling rock album in the process.
Now the five-piece is back for more with Leave This Town, a collection seemingly built on a pure need for songs to fill arenas. Besides a few acoustic numbers, Daughtry wrote (or co-wrote) enough songs to keep things interesting for the thousands destined to see the band in the next couple years in amphitheatres and stadiums nationwide. The goal isn’t to be good, just memorable. And to that end, Daughtry succeeds well enough.
However, these bands are a dime a dozen and, consequently, so are these songs. The carbon copy feel of “You Don’t Belong” and “Supernatural” fit perfectly on any album by Nickelback, Three Doors Down or even Daughtry’s first album; so there’s hardly any inspiration found here. On the contrary, it’s vapid and unimaginative—void of any real creative spark.
Then again, that’s not why you listen to a band like Daughtry. Leave This Town is about having a good time and the ability to sing along in the process. And the catalog here allows for that, at least. –Matt Conner
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
HARDER ROCK SCORES EVEN BIGGER HITS | Posted August-18-2009
Skillet is without exception one of the finest bands to hit the Christian rock scene, ever.
Slowly and steadily nurturing a massive fanbase of hard rock loyalists (affectionately nicknamed “Panheads”) and scoring major mainstream attention without once watering down their convictions, the fantastic foursome’s choruses of hope reverberate loudly for millions of music lovers.
Though their Grammy-nominated platform has literally exploded since the release of 2006’s Comatose, John, Korey, Ben and Jen have yet to give up their call—igniting arenas of teens with refrains of faith and verses of love. Rather than shying away from the taboo topics facing kids today, Skillet goes in for the kill, screaming hope and hitting hard on the heart of the matter.
Awake is no exception.
“Sometimes,” the CD’s most vulnerable and darkest track, confesses, “I want someone to hurt like I feel hurt/It’s sick but it makes me feel better.” “Never Surrender” is a plea for someone to stick close during our most confusing periods of self-destruction and doubt. And “One Day Too Late” and “Don’t Wake Me” are soaring symphonic anthems that take more lyrical cues from pop than rock, bound to strike a chord at every high school-sponsored event this fall.
Typically, the band’s stylistic approach varies widely from record to record, but Awake stays the tried and true Comatose-course. Not to worry: This is no carbon copy. Rather, Awake utilizes everything epic about Comatose (and there was a lot) and makes it bigger, heavier, more climactic and more astute. And thanks to Howard Benson’s (My Chemical Romance, Daughtry) production, each lead vocal is masterfully emphasized, pairing powerful rock with an equally powerful message.
Skillet has once again outdone the competition. Let’s hope the trend continues. —Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
SECOND SET MATURES WINSOME SONGSTRESS | Posted August-18-2009
Pop fans, watch out! There’s a new girl on the scene and her music is hot, hot, hot! Well, Britt Nicole isn’t exactly a “new” artist, having released her debut Say It to a good amount of critical acclaim two years ago. But with less grungy rock, more slick pop and verses that delve a little further into issues that plague young women in America today, this may be Britt Nicole all grown up.
Don’t get me wrong. The Top 40 beats, hooky refrains and upbeat demeanor still shine prominently throughout, but you can say goodbye to the dark locks and bright-colored hoodies of yesteryear. This go-round, Nicole tames her inner rocker chick and steps up the ladylike charm, personified perfectly by her beguiling stare-down cover shot. Not that the album’s jacket always dictates the music within, but for Nicole, The Lost Get Found is a subtle makeover.
With an affective, radio-ready chorus that urges listeners to reclaim the fire of faith, the title track is a perfect example of Nicole’s hip, meaningful pop. Revealing our unwillingness to step out and make a difference for Christ, the lyrics honestly ask: “When you get the chance, are you gonna take it?/There’s a really big world at your fingertips/And you know you have the chance to change it… Don’t be afraid to stand out/That’s how the lost get found.”
Oscillating between vulnerable tracks that vocalize the struggle to surrender to God and sunny tunes of sheer fun, The Lost Get Found is an attractive set list. And though the lyrics may be a bit vague at times, this is pop music, and excellent pop music at that. —Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
THIRD PROJECT PURE EXCELLENCE FOR “OLD SOUL” WORSHIP LEADER | Posted August-18-2009
t’s barely been two years since Aaron Shust swept the 2007 Dove Awards with a trio of wins including “Songwriter of the Year” and “Song of the Year,” two trophies generally awarded to veterans, not a new artist releasing a worship record off a secular label. But considering the previous year saw the worship leader’s “My Savior, My God” nab the No. 1 spot on every Gospel chart imaginable—and stay there—the reward seemed reasonable.
Nonetheless, every blockbuster has to have a follow-up. And rarely is it as impressive, as Shust’s 2007’s effort Whispered and Shouted proved. Thankfully, Take Over is everything his sophomore release could have been, both from a commercial vantage point and in lyrical quality.
Squashed between anthemic corporate sing-alongs “To God Alone” and “Forevermore,” “Come and Save Us” is the singer/songwriter’s hardest-hitting song to date. Propelled by the urgency of his message as well as gritty guitar riffs, driving snares and one killer bass line, Shust produces the same commercial mega-draw as Chris Tomlin, but with a darker tint.
And that “dark” vibe carries throughout the entire record. It’s the same element that causes Sara Groves to stand apart from, say, Natalie Grant. Both perform incredible songs, but the delivery is different. Just like Groves, it sounds as if life is lived a bit deeper in Shust’s catalog than in most modern worship libraries. Frankly, he’s got more soul. With an effortlessly warm baritone, he exhales each lyric, covering an entire arena with one breath, floating the power ballad “Stars Will Fall” much like Coldplay’s Chris Martin carries “Fix You,” but without the need for excessive reverb and delay.
Similarly, closing hymn “Carry Me Home” allows the old soul’s voice to nuance each and every space. It’s sad but hopeful, melancholic but realistic. Bittersweet, but oh, so lovely—the latter, a remark worthy of Shust’s entire third effort. —Andrew Greer
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
ANOTHER GREAT ALBUM FROM LIVING LEGEND | Posted November-24-2008
Jason Martin is a living legend. He’s been around as long as his label (Tooth & Nail), and his list of side projects is rather ridiculous given their number and, more importantly, their quality. Neon Horse, Brothers Martin and Bon Voyage all birthed quality discs on the side for Martin and others. All this doesn’t even touch his production work.
So the bar is set quite high for a new Starflyer 59 record. Luckily, his 11th studio LP under the SF59 moniker, Dial M, clears the hurdle with room to spare. The familiar sonic tendencies are there, and the Starflyer signature is evident at the bottom of each song, if you will. Yet, it’s clear Martin has learned a thing or two about strong songwriting along the way.
“The Brightest of the Head” rides a bouncy xylophone amid downturn lyrics like “God forgive what I thought/Forgive what I think” and an eerie keyboard melody. “Automatic” is a minimal tune that features strings to perfectly accentuate a dark, strutting lone guitar tone. “Minor Keys” finds Martin speaking first person about his call on a straightforward groove that ignites the album. It’s also the best tune on Dial M.
All in all, it’s a solid ride from beginning to end and yet another entry in a catalog that solidifies Jason Martin’s place in the music scene. –Matt Conner
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
BRUTAL EFFORT FROM METAL ACT | Posted November-24-2008
Those familiar with the metalcore of the Indianapolis act Haste the Day will find much of the same on the band’s latest release, Dreamer. Then again, why mess with a good thing? After all, the band continues to chart well with each subsequent release, carrying a significant following among hardcore fans.
Dreamer grates from the start with simplistic but searing riffs on “68” from Brennan Chaulk and newer vocalist Stephen Keech’s deep, guttural growls. And the brutality stops for no man with successive tunes like “Mad Man” and “Haunting” continuing the trend that “68” starts.
There are echoes of melody here and there, with the chorus of “Mad Man” featuring a layered vocal harmony before Keech reverts back to form. Still, the majority of the release features metalcore staples that Haste the Day has long since proven to have nailed down. It does seem like Brennan Chaulk and bassist Michael Murphy have turned up the intensity on this one, giving it a different feeling than Pressure the Hinges. But rest assured that it’s still your favorite metal act at work.
Dreamer might signify a band turning a corner toward an even heavier sound, but if so, it’s not enough for some to notice. The band members know their ground and are willing to stand on it while toying a bit to keep things interesting. –Matt Conner
This review has been reprinted on NRT with permission from CCMMagazine.com. Click here to visit CCMMagazine.com today!
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