God With Us
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Laura Laura Story has become a champion in the female vocalist community within the last several years. From her powerful songwriting for other artists (such as on
Party on the #LITO deck | Posted September-16-2013
Press Play is arguably one of the most overlooked pop acts in Christian music. Getting their start under the helm of singer Dave Hanley as a worship band based out of Angelus Temple in Los Angeles (at the famous L.A. Dream Center), the group has gone on to achieve international fame with their blend of infectious pop/rock melodies and Christ-centered lyrics.
Keeping up with recording, touring, various media spots, and the undertaking of self-launched label DREAM Records certainly has kept them busy these last several years, yet through it all, they've never lost sight of their mission, which is that of Jesus' great commission to take the Gospel to the ends of the earth.
Although the group has shuffled through several lead vocalists since their debut in 2008, their musical core has remained consistent—modern, with a worshipful twist. With the inclusion of two new members out front, female vocalist Nicole Croteau and recent #1 hit artist Jonathan Thulin, aided by the ever present Hanley, their latest effort, #LITO, promises to be their strongest effort yet.
The playfully hashtagged title comes from the phrase "love in the open," a theme you'll see touched on through all 10 cuts on the album. "Being a Christian is not just about knowing love, but about being love," says Thulin, "Love Himself has led by example... I pray [that] this music can reach beyond just good music and become love in the open."
The album's title track "#LITO" sets the tone for the rest of the album nicely. All three lead vocalist take turns trading off the mic, and display how each voice, though unique, blends together to create something intriguing.
"Force Of Nature" continues with the electronic elements presented at the start, and unambiguously leads to praise that is sure to get you off your feet.
Synth driven "Love Audio" brings to mind the attitude-kissed stylings of Group 1 Crew, as both Dave Hanley and Nicole Croteau's back-and-forth vocals sit against a beat that is sure to leave any pop music fan salivating.
"Song For The Broken" slightly breaks away from the bubbly mold for a moment, as the empowering tune rallies the lost and hurting to run to God and find peace. While everyone's voice shines, Jonathan Thulin's vocals are flawless on this eerie tune, almost sounding like a piece you'd hear on one of his solo records. Perhaps that's what makes the song so attractive: "You don't have to look any farther, you don't have to search any longer / Come sit at His table and just believe."
"Snap A Picture" is a bombastic EDM track that gives anyone in the genre a good run for their money. The song carries no significant meaning, playing on our nature to share every moment of our lives thanks to social media, but once you're drawn into the infectious, auto-tuned beat, the zany message will be the last thing on your mind. No doubt this will be a favorite to hear live (and coincidentally, snap a few pictures).
Radio friendly "Top Of The World" takes the rapid pulse of the album down a few notches and becomes a tenderhearted prayer for the Creator to use us a conduit of selfless light: "Lord, let me be Your light and give it away, give it away / I'm on top of the world right now with You."
Dubstep appears front and center on the aptly named "Android." The song likens the world's conformist nature to mindless droids feeding a machine of apathy, and encourages the listener to break the cycle and take a stand for something greater. Quirky to say the least, it's one of the catchiest songs the group has ever recorded.
The beautifully broken ballad "I Can Breathe" serves as a collective reminder of who our God is in the midst of life's turbulence. Nicole Croteau's voice beams as the lyric cries out: "There's no more clouds, I see somehow, I'm rising from the ashes now."
"Wonder Struck" is a meaty peace of pop artistry that combines pristine synth beats with modern rock progressions. Much like "Force Of Nature," the lyrics tell of God's divine nature, and how His unending love continually blows our minds, yet this comes across stronger than the previous. Without a doubt, this is the most solid offering the album has to offer.
"I Choose" boasts an aggressive beat that doesn't hold well as the final track on the project, mostly because its fierce nature leaves you ready for a follow-up. Two bonus remixes tacked on the end help settle that a bit, as remix master—and Jonathan's older brother—David Thulin takes the band's hit song "NY2LA," as well as "#LITO," and reboots them into EDM masterpieces that sparkle with a pulsating club vibe.
Closing Thoughts:
What impressed me right from the beginning of this project, was how much Press Play has matured musically since their last album. Nothing they've released in the past has been terrible, but sorely lacking any sort of cohesive flow. With #LITO, they've completely changed that. An impressive line-up of tunes from beginning to end, it's safe to say that this group of pop worshipers has finally found its niche.
It feels as if the subject matter on this newest effort seems more lighthearted in demeanor than albums past, but when it does dive into deeper moments, it manages to present them in an imperfectly human way that anyone can relate to. It makes the more worshipful moments all the more desperately real. #LITO signals big things in the life of one of CCM's rising stars. You'd be wise to pick up a copy and see why.
A Pleasing Outcome | Posted August-26-2013 For freshman act Love & The Outcome, the husband/wife duo comprised of Chris Rademaker (bass/vocals) and Jodi King (keys/vocals), the name they bear isn't just some clever stage moniker. It's a massive part of their identity.
The couple, hailing from Winnipeg, Manitoba, has been making music and traveling the globe together for several years, but set off on the journey of a lifetime when they took a step of faith by leaving the familiarity of their hometown and moving to Nashville to sign with Word Records.
As if that massive life transition wasn't radical enough, it also came during a time of personal trials for the two, including the sudden illness of Rademaker's mother, which led to the cancellation of a year's worth of shows.
Through the trying time, Chris and Jodi's faith was repeatedly tested, but as gold purified through vehement flames, the couple came out stronger and with a greater sense of what it means to live a life of love with driving purpose.
"A life that requires faith is worth living," says King, "and a life on the edge is one where you live hand-in-hand and arm-in-arm with God. That's what we're living for."
Including the writing/producing talents of Seth Mosley, Jeff Pardo and David Garcia, Love & The Outcome's self-titled debut blends an 11 song mix of silky pop with a raw edge that is sure to grab your attention.
The duo's name comes into play with the prayerfully upbeat opener "When We Love," which lyrically points to the life-changing power of giving our love away: "So God, give me a heart like Yours, help me to look at the world like You do / I wanna be caught up in Your love, cause Your love is enough to mend the most broken of lives."
The anthemic first single "He Is With Us" is an irresistibly catchy proclamation of faith in God's active presence in our lives even when we don't feel like He's in control. "No Mistaking (It's You)" shines a bright light on Chris and Jodi's flawless harmonies while musically delving into folksier waters.
"City Of God" appears next as yet another earworm anthem that is sure to stick with you long after your first listen. While it holds a simple, poetic approach, lines such as "We're going public like torches in the night, bringing out the God colors just like the Northern Lights" paint a dazzling word picture.
"Ask" transitions nicely into "The Story You're Building In Me," reminiscent of an Amy Grant/Vince Gill duet. The song vulnerably opens chapters in the couple's personal lives, sounding much like a journal entry in the making. Exquisite transparency shines in their vocals and becomes one of the brightest moments on the record: "Every day You show me another part of my story / There‘s sure to be some hard times, but a whole lot of beauty."
"Closer To You" worshipfully builds solid musical muscle as it moves forward, while the mellow yet hooky Europop inspired "Bring Us Back" highlights Jodi's solid vocals with Chris providing an eerie '80s pop vibe on BGV‘s. It's another high mark on the project, and a musical style I'd love to see the duo perfect in future work.
Jodi's gentle vocals paired against an attitude-driven drum attack open the declarative battlecry "King Of My Heart," which presents Chris Rademaker with a subtle platform to present the edgy rock sensibilities he brings to the table. The lyrics sparkle with more faith fused with raw honesty, making this song a future fan favorite for sure.
"Heart Like You" stands up against its melodic mainstream counterparts, exchanging tales of heartbreak and bitter romance for the cry of a heart desperately seeking to reflect love: "What can be worth more than You? / What do I have that I wouldn't lose if it means You and I look more alike?"
"What A Promise" ends the album on an artistically theatrical note, complete with dramatic drum sounds and a passionately enchanting vocal delivery: "If the God who spoke my heart into existence told me not to worry what tomorrow brings, we'll believe it till we're standing in eternity."
Closing Thoughts:
It's becoming rare for a musician to master the ability to draw listeners in and make them feel more like a friend, yet somehow, Love & The Outcome makes it look effortless. The recurring themes of selfless love and trusting in God's sovereignty despite facing some of life's toughest circumstances shine throughout, and never once feel overwhelming or repetitive. With each track, you feel as if you're being warmly invited into the duo's home to listen, learn, and relate to their life experiences.
While new ground isn't being broken here in a musical sense, it firmly establishes familiar ground in a highly noticeable way. I look forward to hearing how the pair will experiment with their sound in the future. Love & The Outcome is one of the strongest debut releases of 2013, by a group well worth keeping on your radar.
A Collective Worth Your Attention | Posted August-26-2013 One of the latest deliveries to join the ever growing worship music market, is a team known simply as One: A Worship Collective. Their title pretty much sums them up. Unlike most worship teams, which are products of a home based church, this collective is made up of worship leaders spanning the entire country, from Kurtis Parks, hailing from Washington D.C., to the well known Texas-based multilingual singer, Christine D'Clario.
Joining forces at the 714 Conference in Dallas, TX, the group's first live installment, We Believe, is a grand culmination of each worship leader's unique style, mixed with the ever present truth of God's majestic sovereignty.
“Like Never Before” rouses the crowd with a vibrating drum beat, opening the album on a perfect, upbeat note with the scriptural lyric, “This is the day that You have made, I will rejoice, I will rejoice.”
Gritty guitars are met with a soulful melody on “Take Me In,” featuring the superb (and CCM-esqe) vocals of leader Clayton Brooks on the front. The simple yet powerful chorus is reminiscent of super group Jesus Culture in its uncomplicated truth: “Oh the joy that fills my soul when I'm with You Lord, when I'm with You.”
“Come Like The Dawn” and “Every Good Gift” continue to evoke more pristine, intimate praise. Title cut “We Believe” flaunts a crunchy riff as it builds into a climatic outburst of adoration: “Let our faith arise, let it come alive in the power of Jesus / Open up our eyes, sets our hearts on fire, burning for Your name.”
The sonically enchanting “To Honor You” brings to mind the modern sounds of United, while “Jesus At The Center” mixes up the flow a bit by making the transition from programed elements, to a beautifully moving acoustic melody.
“We Crown You” showcases more musical diversity as the perkily folk tune marries with the old hymn, “All Hail The Power.”
“This world may be a fallen place, blind to hope, in need of grace / Though the storms they seldom cease, You will harbor me in peace.” This is just one of the lines in the incredibly powerful “Set My Eyes On You,” boasting honest yet spiritually wise songwriting that is often unseen among its peers.
“Great I Am” features D'Calrio on one of the most covered new praise songs in recent memory. It's impossible to not feel a surge of soulful abandon as the anthemic bridge builds up with a shout: “The mountains shake before You, the demons run and flee at the mention of Your name: King of Majesty / There is no power in hell, or any who can stand, before the power and the presence of the great I AM.”
“You Are Forever” triumphantly closes a fantastic album of sold out praise and worship on a declarative yet mellow note: “How can I say that You aren't near? You were the start, You are the end, You are the never failing Friend / You hold this world in the palm of Your hand, Your mercy is too great to comprehend.”
Closing Thoughts:
Something you'll notice about this album right away, is the excellence of the production. Most first time worship acts tend to get lost in the mix due to their under-produced nature. Thankfully, this isn't the case with We Believe. If anything, it rivals the quality of longstanding worship acts in all their grandeur.
One: A Worship Collective is a talented group of believers, who are clearly joining together for a purpose bigger than the sum of its parts. Any preconceived ideas I had walking into this album were shattered as I dove in and was deeply moved by both the smart, intimate, God-centered lyrics, and the stunningly emotional vocals by every worship leader being presented.
We Believe might not be walking away with a GRAMMY anytime soon, but this is a stellar representation of what the worship market has to offer as it moves forward. Other acts ought to take notice.
New Direction, Same Mission | Posted August-26-2013 Lexi Elisha might not be a CCM mainstay quite yet, but she is certainly an artist worth taking note of. Her debut 2011 EP, Let Go, introduced her to the music world as a positive alternative to modern country acts such as Taylor Swift and Carrie Underwood, only with a much sunnier message.
That was nearly two years ago, and much has chanced in Elisha's life since then, both personally and professionally. Now a twentysomething spending most of her time on the road performing shows, her heartbeat has become to inspire young girls in a world where they are constantly being bombarded with a fake idea of “perfect.” Lexi's combat weapon of choice? Brutally honest songwriting, and the upbeat melodies to go with it.
Eventually, her newest musical endeavor, picks up where she left off in a sense, tackling tough subjects such as broken relationships, feelings of loneliness, as well as a few brighter moments of God focused encouragement.
Borderline EDM sounding pop was something Elisha experimented with on her debut EP, and it's clear that she's taken an even deeper plunge into the style with the album's first track and single,“I Choose Love.” A fun take on 1 Corinthians 13, the chorus belts out the desire to live a life of selfless love: “Whoa, I choose love, I chose to love You more, more than I love myself / Whoa, I choose love, Your love is enough for my heart.”
“Eventually” gives listeners some of the familiar southern pop sounds Lexi's music is known for, touching on the difficult thoughts that go along with being being a boy's option rather than his priority.
The bubbly “This Heart” tells the tale of a relationship going through the ringer, and how in the end, a human heart just can't be controlled. I don't fully agree with the message of the song, but I give her big props on crafting clever lyrics that could easily garner her mainstream attention: “It's not fair to leave in a place like this, it's not right to say it's over and than steal another kiss / You're not in love with me, you're in love with knowing when you leave me, you'll be missed.”
“Stay” is arguably standout track on the project. A perfect mash-up of both country and pop on the writing front, Lexi's voice shines as she sings the vulnerable lyrics: “I can't believe I thought I'd do this alone, cause when you're gone, it feels so wrong / I finally found what I'm looking for, and I don't wanna be alone.”
“Safest Place” switches things up thematically, becoming a moment of both broken confession and declarative worship to our Creator.
Coming to an end all too soon, the mellow, guitar led “County Line” features the inclusion of some male vocals alongside Lexi's high pitched, soprano offerings. It almost brings to mind something The Civil Wars would've attempted, only with a more lighthearted backbone. The incredible vocals being paired together are enough to make you wonder why Lexi isn't part of a male/female duo to begin with.
Closing Thoughts:
Much like Lexi Elisha's melodic mainstream doppelganger Taylor Swift, it's clear that she's aiming to direct her music in a newer direction. While it still possesses many of the southern sensibilities her last EP had, a more danceable, pop friendly vibe has taken over a majority of her sound. The genre suits her bright voice surprisingly well, but you can't help but miss some of the twangier aspects that made her music what it once was.
Style switches aside, Lexi continues to prove herself as a gifted songwriter with a knack for sharing the honest sentiments of her heart, whether they be bitter and broken, or challenging and inspiring. Eventually, while a concise album, packs a punch that is sure to leave you wondering what's next for this rising female vocalist.
It takes some bands years to achieve the level of industrial respect the men of for KING & COUNTRY have attained. Yet in the short 18 months since their album Crave hit shelves, brothers Joel and Luke Smallbone have been riding a tidal wave of success some only dream about.
Huge radio hits, including "Busted Heart (Hold On To Me)" and "The Proof Of Your Love," are just the start. Sold-out shows and headlining tours followed closely on the heels of being named one of iTunes Best of 2012.
The duo, who have truly developed a distinct mold with their thought provoking lyrics and dramatically poignant style of music, have been wowing critics and partisans alike, even being given the opportunity to appear on major television programs such as Huckabee and The Tonight Show with Jay Leno.
While the Australian-born brothers are certainly known for putting their flair of melodic rock and contemporary class to tape, anyone who has ever seen the group live will agree that they put on one of the most unique live experiences any artist—Christian or otherwise—has to offer. With that in mind, it was only a matter of time before the idea went forth to document their stellar performance and display it on a wider platform.
Recorded at The Factory in Franklin, Tenn. on the final night of their Proof Of Your Love Tour, the group's new Hope Is What We Crave: Live CD/DVD release not only highlights a snapshot in for KING & COUNTRY's fast-rising dynasty, but gives new fans the chance to see why this band is being dubbed one of the best new acts in years.
The pair's quirky tune "Fine Fine Life" starts the CD portion with a burst of sophisticated energy, and immediately shows you how quick they are to invite audience participation through some comedic dialogue. Right off the bat, you can hear the upbeat ambiance the packed theater possesses, even through it's located in such an intimate setting.
"Light It Up" displays the Smallbone brothers' powerhouse harmonizing skills, while Joel momentarily interrupts the songs to share the powerful story behind why it was written. With the bombastic drum sounds the band is known for, "Middle Of Your Heart" appears next, and brilliantly mixes it up a bit from the studio version with various audience-driven interludes.
The eerie tune "Missing" gets a makeover as the live counterpart becomes a stripped down acoustic moment. While it doesn't carry quite the same vibe as the haunting original, the repentant lyrics recounting lost love become all the more compelling in this raw setting.
One of the duo's lesser known tunes, "Pushing On A Pulling Door" makes a lovely appearance, and is done so perhaps, that an underrated song finally gets the attention it deserves.
The album wouldn't be complete without the appearance of "Busted Heart (Hold On To Me)," the song that launched the band into stardom, while the most surprising inclusion follows next with the track "Baby Boy," which was originally written as a Christmas song. The band credits its inclusion into their set each night due to their short length of material, and the timeless message the song represents.
The song "Crave," from which the project pulls its title, serves as a honest breath of fresh air as it relates the idea of hope to a person we're desperately aching to be with: "Hope is what we crave and that will never change, so I stand and wait / I need a drop of grace to carry me today, a simple song to say / It's written on our souls, hope's what we crave."
The smash hit and WE LOVE AWARD 2013 Song of the Year "The Proof Of Your Love" closes the album on a theatrically epic note as it combines both the version previously recorded for the album, alongside the radio mix, which includes Joel's spoken word monologue from 1 Corinthians 13. The vibrant ending alone is worth taking the time to give this album a listen.
Alongside the CD, is a DVD of the concert itself, giving this album the perk of a visual aid. Throw in the addition of bonus goodies such as music videos, behind the scenes interviews, and some acoustic performances, the listener has a well put together package worth the small investment.
Closing Thoughts:
The Hope Is What We Crave: Live CD/DVD does a great job of summing this pair up, both for those who have and haven't experienced them live. The album has a intriguingly gritty sheen to it, due largely in part to the setting it was recorded in. It does become all too brief at just nine songs, and I feel like a few others on their debut could have made the cut here, nevertheless, it's a splendid portrait of what you're in for during one of their performances.
The fact that for KING & COUNTRY can successfully pull off a live project with only one album under their belt speaks volumes to their creative ability. Their performance is full of powerful moments, met with bursts of heroic production. If ever given the opportunity to see this band live, run, don't walk.
To Start Again or Anew | Posted August-08-2013 For Michael Tait, Jody Davis, Jeff Frankenstein and Duncan Phillips, better known as pop/rock outfit the Newsboys, "restart" isn't just a practical term for change. It's been the story of their lives these last four and a half years.
Hard to believe it was 2009 when the Christian music world was rocked by the news that former 1/3 of legendary group dc Talk, Michael Tait, would be filling the vacant frontman shoes for one of CCM's highest standing bands. Yet here we are: two studio albums, a handful of #1 hits, and 600+ shows later, and not only has the band proven to the skeptics that this new brand works, they've also shown longtime fans that they can successfully reinvent themselves.
Reinvention was on their mind once again as they took steps towards conceiving their 16th studio project. Following the massive success of 2010's Born Again and 2011's God's NotDead, the pressure was on to create something truly magical. If there was ever a time for a band to stick with a working formula and let someone else push the envelope, this would've been it. However, Newsboys are not most bands.
Taking note of current mainstream music trends, their goal was simple: create art just as relevant, if not better, and do it for the Kingdom. The end result is a collection of 11 tracks that are unlike anything they've done before, diving headfirst into new territory both musically and lyrically.
Restart brings together the "who's who" of CCM. Songwriters/producers such as Chris Stevens, Seth Mosley, Joshua Silverburg (Edison Glass), Kipp Williams, David Garcia, and Jon White (Capital Kings) are just some of the big names that have played a part in the development of this album. Needless to say, this isn't a one man show.
"At the start of this record two years ago, we knew we'd be taking great risks," Michael Tait says of the musical community behind the project, "but people will be excited about this album because we've pushed through the music and taken it further than we've ever taken it before."
A massive statement requires massive follow through. The question on all of our minds: does it live up to the hype?
"That's How You Change The World" offers the listeners their first taste of a fresh Newsboys. Immediately met with throbbing, glossy EDM, the lyrics ride on a theme that you'll see touched on throughout the entire album: love, and what it means to truly live it out loud. The title track "Restart" appears next and draws you in with its industrial, electronic melody. You’re sure to be belting out the catchy chorus not long after your first listen
"Love Like I Mean It" has all the makings of a future radio hit, and for good reason. Built on an offbeat synth pulse that rivals secular counterparts, the slick melody is backed by the age old message that love isn't a fleeting whisper of sweet nothings, but a verb meant for action. The album's first single "Live With Abandon" continues the flow of the album, and serves as a prayerful heart cry to die to self and live for Christ.
Delectably modern pop, "Go Glow" re-introduces the use of some organic instruments after an upbeat synth assault during the first few tracks, showing fans that while the band might be testing new waters, they're still excellent musicians to boot.
"That Home" completely switches gears and attempts something Newsboys have yet to do in their nearly three decades together: a piano ballad. Backed by some of the strongest vocals Michael Tait has cut in recent years, the song tells the tale of a life affected by a mother's selflessness and the legacy of love she left behind: "In that home, we knew we were safe to be young enough to dream, find the faith to believe / In that home, love, it had no end, it's where we learned to forgive / In that home."
"Disaster" presents more of the EDM aspect the project is sprinkled with, but follows along the same lines as the previous tune with its darker vibe. Comparing our soul's need for God to that of a fatal sickness in need of a cure, it's one of the strongest cuts on the album: "Since the day that I was born, I was broken and torn, so human, so incomplete / But You never give up, never lessen Your love, that's the way that You'll always be."
Infused with a bubbly Britt rock vibe, "Fishers Of Men" will undoubtedly become an instant fan favorite and a fun track to hear live. The clever line "seven billion people on a spinning ball, and they all mean the world to You" opens the song and invokes an urgency to go out and live the great commission. "One Word" is the only track that sounds remotely similar to anything on their prior two albums, and although a great song in its own standing, doesn’t necessarily click with the rest of the project.
"Enemy" sounds like it would fit right in with anything on secular radio from a musical standpoint, while the lyrics are that of raw self-confession and the desire to kill our pride: "Who was I to sit and judge? Always pointing my crooked finger, holding tight onto a grudge, all along, I was the chief of sinners."
Declaring the striking lyric "let our faith be more than anthems," the album's final track "We Believe" makes a bold declaration of faith in Jesus, mixed with a cutting honesty that still makes it feel real. It wouldn’t surprise me at all to see this become a go-to for corporate worship.
For fans who are a little more dedicated, the deluxe edition of the album costs a few dollars more and boasts an impressive five B-sides that didn't make the album, including the rocker "Man On Fire," featuring vocals from fellow dc Talk-partner-turned-Audio Adrenaline frontman, Kevin Max, and a remarkable remake of Mike & The Mechanics 80's classic "The Living Years" that is sure to leave you wondering why it didn't make the final cut. This song alone is worth the extra $5.
Closing Thoughts:
Let's be frank: this isn't your classic Newsboys record. You won't find quirky lyrics or any trace of an accent-laced tongue twister, nor will you hear much of the musical blueprint that garnered them most of their past success. This is a deliberate departure from anything Newsboys have ever done, and I'm here to inform, the risk has paid off.
Restart is an album that possesses as much truth as it does talent. The production quality is nearly flawless, and lyrically, working with some of the best songwriters in the industry shows in the quality of the work. While the lyrics take the band to a whole new level, the group's journey into uncharted sonic waters is the real game changer.
What sets this project apart is an evident lack of formula. For some, that's a death sentence, yet somehow, Newsboys turn it into a buffet of melodic diversity that completely allures you and leaves you wanting more. My only objection is that "The Living Years" should have made the final cut on the standard edition of the album. However, the clever placement offers all the more reason to spring a few more dollars to experience the five bonus songs.
There is no denying it: Michael, Jody, Jeff and Duncan are at the top of their game, and if this offering is any indication of what the future holds, we have much to look forward to for many years to come.
Songs to Download Now:
"Restart" and "The Living Years" (Deluxe Edition Only)
It’s remarkable how the whole six degrees of separation thing works. Especially in Christian music. It was a natural progression that when I purchased my first ever Christian album, Jeremy Camp’s Stay, I’d eventually find my way to his wife, Adrienne Camp, a female vocalist with a career in her own right.
Imagine my surprise when I discovered that she was once Adrienne Liesching, the lead vocalist of a female-fronted rock group known as The Benjamin Gate, composed of herself and teenage best friends Mac Pautz, Costa Balamatsias, Nick Volsteedt and Chris Poisat. After a quick internet search of the band, I was quickly intrigued by their short-lived story, and even more eager to hear the music that followed.
Upon being discovered through studio demos, the young band hailing from South Africa moved to the U.S. to sign with Forefront Records and record their first project, Untitled, back in 2001. The group toured like crazy to promote the first record and began to gain a cult-like following with their high energy live performances, dramatic sense of style, and signature gas mask logo that graced all of their memorabilia.
Following their first hit “All Over Me,” the group got to work straight away on recording their follow-up and final CD, Contact. Although a fair amount of time and money was spent on marketing, its reception was met without hype, in part due to their sudden change of style, which transitioned from a techno pop group to a mainstream alternative pop/rock sound.
The group toured hard again over the next two years. While on the road, Adrienne began dating then up-and-comer Jeremy Camp, and it wasn’t long before the two were engaged. You can imagine how much of a shock it was to fans when only a month after word of their impending marriage, the band amiably decided to call it quits. While Yoko-Ono syndrome struck and fingers quickly pointed to Jeremy, the reality was that the band was burned out and unhappy. Each of them felt it was time to purse different avenues of life and move on.
With The Benjamin Gate’s sudden demise came the overnight oversight of the two efforts they contributed to CCM. As someone who enjoys blowing the dust off of a forgotten gem, I was ecstatic to finally find a copy of their 2002 Contact album. Little did I know upon my discovery, I'd found what is now counted as one of my all-time favorite records.
From the first track “Lift Me Up,” the departure from their debut album is evident. Two separate soaring guitar riffs attack the listener right away, and Adrienne’s light soprano vocals meet flawlessly with the carefree flow of the melody.
“This Is Not” follows, and borderlines a punk tune in its quirky rock vibe and earworm electronics. The song can be seen as an angsty break-up track, but never specifies a person and can be directly pointed to a number of things or people, making it all the more unique.
Über radio-friendly “The Calling” paves the way for the most hard rock dominant song on the album, “Do What You Say,” which the band dedicated to quote “mouth flapping Christians who need to walk their talk.” A harsh message is met with an equally harsh sound, and quickly rises as the strongest cut.
A cover of Men At Work‘s “Overkill” graces the palate of the listener next and transforms a cheesy 80’s classic into an eerie alternative rock jewel, which channels shades of Shirley Manson in Adrienne’s creepy vocals: “I can’t get to sleep, I think about the implications of diving in too deep, and possibly the complications / Especially at night, I worry over situations that I know will be alright, it’s just overkill.”
The first overtly Christian message on the album, “Need,” sounds more like a raw, unfiltered journal entry than a song, while the pace picks up once more with the prayerfully bubbly rocker “Light.”
“Your Kisses Blind Me” can be taken controversially if seen in a literal way, but can no more be confused with modern classic “How He Loves” in its relation to divine intimacy. Incredibly written, the song would fit right in with today’s current worship movement, forming a very strong moment on the album: “Beautiful You are to me, moon above the raging sea / beautiful You are to me, flame of fire inside of me.”
“Tonight” is an anthemic rally for the church to stand united and be a shining city on a hill for Christ, offering the clever line: “If this is the beginning of the end of time, how much longer have we got to sing this rhyme?”
“Gratitude” and the most dated-sounding track on the album, “The Way You Are,” offer more flawlessly moody, melodic worship, while “Violently” launches with more stellar guitar work (which you will see an abundance of throughout the entire project) and grinds out our soul’s need for a Savior.
The honest and alternative “Fall Away” closes the album, but does so in a way that makes it feel incomplete, almost as if there should be one more track to tie it all together. A hidden radio edit of “The Calling” on the tail end is a nice touch, but still feels as if it lacks. Then again, perhaps wanting more is the sign of a job well done.
How Does It Hold Up Today?
Arguably, this album not only holds up well in the 11 years since it’s release, I’d even say it was sorely before its time. There are a few moments on the record that have a fresh-faced “new millennium” sound, but somehow, when incorporated with their mix of attitude rock and alternative electronic elements, create something spectacular you want to listen to over and over again. Lyrically, the album stands the test of time as well. In-your-face statements sprinkled with an occasional flair for dramatic worship hold up today with very solid stature.
What Is The Band Up To Today?
Members of The Benjamin Gate are scattered far and wide these days, while some of the members are AWOL altogether. Mac and his family moved to England to be closer to his wife’s relatives, Costas relocated back to South Africa, and last anyone heard of Nick, he was pursuing a modeling career in Los Angeles. They’ve all remained relatively low key.
The female face of the band has gone on to have the most success. After marrying Jeremy Camp in 2003 and quickly starting a family, Adrienne Camp made several guest appearances singing for her husband before reemerging from a premature retirement to release two solo albums under the name Adie in 2006 and 2010 respectively.
A radical departure from the band’s sound, both albums are solely pop/worship oriented, proving to longtime listeners just how diverse her vocal abilities really are. Though she hasn’t implied a desire to make more music in the near future, Adrienne has said in past interviews that dabbling in rock music again isn’t something she’s opposed to, and given the inspiration, another rock-fueled record might happen one day.
Closing Thoughts:
Contact is an album glimmering with righteous relevancy by one of the most underrated acts to hit CCM. If I were ever cast away to a deserted island for the rest of my life and was only allowed to take a handful of albums with me, this is unquestionably the first one I’d reach for. That alone makes a rather clear statement.
For fans of Gospel music artist Trent Cory, his wife Keisha Cory is far from unfamiliar. The musical couple has been traveling the world together with their three children for the past five years, leading worship in churches all over the nation, and even appearing on television programs such as TBN's Praise The Lord.
A songwriter who has had a heartbeat for music ministry all her own ever since she was young, it was only natural that Keisha would step out on her own at some point and record a solo album. Reflecting the personal journey God has taken her on over the last several years, Cory's first release, Still Standing, delivers 10 worshipful tracks full of wisdom and praise.
"Still Standing is my testimony of my journey till now," she says. "No matter how high the waters rise, we have a promise that they cannot overtake us. No matter how far the ocean is to cross, we have One with us that is walking on water, holding our hand."
Free-spirited and upbeat, "Sing Over Me" starts the project with a magnetic hook, offering a heaping dose of biblical truth interwoven into the praise filled lyrics. The title-track "Still Standing" comes grinding out of the gate with a rush and marvelously displays Keisha's soaring vocals.
"Light Of The World" beautifully correlates the voice of God speaking light into the darkness by both creating light and sending light (Jesus) into the world.
"Overwhelmed" opens with a moving piano piece that draws you into a private time of deep worship, while "I See Heaven" follows along the same soft tones, and features booming vocal cameo by her husband, Trent Cory.
Showcasing another creative layer, "I Know You're There" brings to mind the likes of female vocalist Natalie Grant in Keisha's stellar vocals and an honest outpouring of harsh reality, mixed with unshaken faith: "Even when it feels like I'm falling apart, when the night falls and the fear calls, I will praise / You are holding it all, I will be strong, I will hold on."
Both "Pour Out Praise" and "Love Came Down (I Found A Love)" sound like they would fit right in during congregational worship, yet offer little to be excited about from a musical standpoint.
Opening with a something of a magical harp interlude, "Hallelujah You Are My King" continues the low key worship melodies on the album, and offers a hymn-like tribute to the Creator in it's simple yet soul rousing lyrics: "When my life is sometimes shaken, You sustain me with Your love / Hallelujah, hallelujah, hallelujah, You're my King."
"I Will Sing" closes the album with a major shift in musical style, in which Keisha goes country on us! Surprisingly, the genre suits her commanding pipes well. Though it's a departure from the rest of the project, it still manages to fit right in. Filled with more inhibited praise, it brings a beautifully poignant album of worship to rest on a high note.
Closing Thoughts:
With her soulful style of worship and powerful, resonating vocals, Keisha Cory reminds me a lot of Gospel artist Martha Munizzi, only with a distinct pop flair. The harmonious versatility she possesses has the potential to carry her far, and although the latter portion of this album falls a tad flat, somehow, Keisha's passionate praises keep you locked in and ready to listen to whatever comes next. Still Standing is still a great effort by a female vocalist that is certainly worth a mention.
A "Stellar" Comeback in the Making | Posted July-08-2013
Rewind the clock for a minute. It's 2005, and one of the brightest new acts to hit the Christian music circuit is a four-piece outfit of guys hailing from Phoenix named Stellar Kart. Fronted by fearless leader Adam Agee, the group followed in the footsteps of acts like Relient K and Hawk Nelson to become CCM's answer to punk/rock mainstays such as Simple Plan and Blink 182, gaining a massive following with their quirky, boyish charm and solid tunes such as "Life Is Good," "Activate," "Me And Jesus, "Innocent" and more.
The band rode a steady wave of success till 2011, when out of nowhere, it seemed as if they had completely fallen off the radar. Numerous label conflicts and life changes, preceded by a premature greatest hits completion, lead to rumors that the end was near, fueled further by the departure of three of the four founding members: Jordan Messer, Brian Calcara and Cody Pellerin.
The status of Stellar Kart's existence was unsure by many until 2012's A Whole New World EP released. The EP not only re-introduced fans to the group they loved via a string of Disney covers (yes, you read that correctly), but also familiarized them to what would become the band's current lineup: Former TFK guitarist Nick Baumhardt, drummer Jeremi Hough, female bassist/vocalist Aliegh Shields, and Agee still holding strong on lead vocals.
Settling in at InPop Records as their new home label, the band got straight to work creating a piece of art nearly four years in the making, a project we now know as 2013's much-anticipated All In.
With distorted guitars and a pulsating drum beat, "Criminals And Kings" opens the project with a rush that is sure to leave you on the edge of your seat. It's in the same punk/rock vein as their past work, but also showcases a new, edgier side to the group—a rousing piece of work to say the least.
"All In (Apologize)" changes the pace dramatically, yet never manages to lose your interest as it picks up musical momentum along the way. The tune, from which the album derives it name, is a bold declaration of being "all in" for Jesus, and is sure to become another success in their already solid line of hits.
"My Surrender" crashes onto the scene as a hooky song about the war we fight against ourselves to surrender our lives to God, while the melodic and encouraging "Never Left Your Side" sounds like a song Christian radio would absolutely eat up.
The most reminiscent of their early bandhood musings, the tongue-in-cheek punk tune "Hollywood Reality" is the most upbeat offering on the record. The song finds the majority of its lyrics in the titles of popular reality TV shows, and offers a humorous take on how our view on so-called "fame" can distract us from living the life we were created to live: "Super Sweet 16 and Pregnant, fired off of The Apprentice, everything is entertainment here / It's a Hollywood reality, a la-la-land of fakebelieve."
"Just Like You" recounts all the ugly ways we as humans can break the heart of our Creator, but how His radical love for us always takes us back without a second thought: "When I'm a traitor, a faker, a doubter, a failure, You remain so true, it's just like You."
Adam's voice shines on the ballad "Time's Not Waiting," which shows a noticeable maturity in Stellar Kart's songwriting. The convicting tune encourages listeners to stop letting life pass them by when they were meant to take chances and risk it all to see their dreams come true. "Before And After" is written from God's point of view, saying that there isn't anything that can separate us from his extravagant love.
Picking up the blazing pace of the album once more, "Nowhere To Go But Up" is sure to get you off your feet. Bassist Aliegh Shields steps up to the plate for her second go-around on a portion of lead vocals (the first being "Criminals And Kings") and offers her silky, soprano flair against Agee's sharp, attitude driven vocals.
"Ones And Zeros" ends what feels like an all too brief album, but does so on a high note. A rally cry for those who see themselves as the underdog, the song presents the thought that those who feel like they have the least to offer this world might be the ones who have the most to give: "We are the ones, we are the ones and zeroes, the beautiful incomplete / We are the ones, we are the future heroes, a colorful symphony."
Closing Thoughts:
I think the question on every Stellar Kart fan's mind is the same: Has the long wait been worth it, and does their cherished band sound the same? I'm here to assure you: Stellar Kart is back, and without a doubt, stronger than ever.
All In carries enough familiarity to appease long time listeners, but also points to a shift in musical direction that I hope the band continues to roll with. The incorporation of a female vocalist in Shields is a wise move. Much like the choice Skillet made with drummer Jen Ledger, I'd love to her vocals incorporated more with Agee's as a co-leader on their next effort. Lyrically, while the band has grown leaps and bounds, they still pen from a relatively young standpoint, leaving room for minor improvement, but regardless, they always point the way to back Jesus and His life-changing love—a message that is never wasted.
A "stellar'" comeback in the making, it's a great joy to have one of CCM's most exciting bands back in the game. The next chapter in the life of Stellar Kart promises to be a sweet one indeed.
A New Direction Musically and Thematically | Posted June-14-2013
It's been a lengthy dry spell for Relient K fans. After the success of their popular Forget and Not Slow Down project back in 2009, new music had been few and far between for the Ohio-based rockers, fronted by fearless leader Matt Thiessen.
Two karaoke-style EPs were welcomed two years ago, but only left the mouths of fans watering for more of the group's signature quirky alternative rock delicacies. Approaching five years with no sign of any new music, fans began to wonder if their beloved band had met their proverbial deathbed.
Truth be told, Relient K was never gone—just out of the spotlight for a while. They toured frequently, gaining an abundance of mainstream exposure by appearing on the Warped Tour, as well as opening for high-profile Paramore tours both in the U.S. and overseas. Thiessen also found some success on his own, co-writing songs like "Long Shot" by Kelly Clarkson and "Good Time," by friend and fellow crossover artist, Owl City.
Between songwriting and traveling the world over the last three years, quietly, the band managed to sneak into the studio to write and record a long awaited follow-up. On the heels of several personnel changes, including the surprising departure of longtime drummer Ethan Luck, the announcement of the band's newest digitally exclusive LP, Collapsible Lung, was finally made in early 2013.
"This time around, we wanted to have a collection of songs that surprised even us," Matt Thiessen says about the new album, which is the first time in their history the band has chosen to co-write with different producers. "Each song includes a different combination of authors, yet there is an underlying thread that ties the tunes together thematically. We took an experimental approach creating the album, and we couldn't be more pleased with the result."
The question on everyone's mind: Has the music been well worth the wait?
The pristinely produced and anthemic "Don't Blink" gives the listener their first taste of a more mature sounding Relient K, yet still possesses the fun musical oomph fans fell in love with in their youth.
"Boomerang" is a glossy modern rock powerhouse detailing the chronicles of a twisted romance. Think Switchfoot gone slick. Thiessen's vocals are spot on, and the song has, in my option, enormous crossover potential. One of the album's earliest singles, "Lost Boy," continues the prevailing sheen the project boasts so well.
"If I Could Take You Home" crosses into synth pop territory and continues the theme of relational struggle, presented with their unapologetic way of crafting a lyric: "The trail of broken hearts you've left behind should send me running girl, but I don't mind, it's not up to me where you sleep / You're so good at making casualties, inflicting pain by the casualty, it's easy to see you'll do it to me."
The free-spirited and bubbly "Can't Complain" can almost be taken as follow-up to the band's hit "High of 75," sounding the most lyrically reminiscent of some of their earlier work: "I know some days I'm gonna stumble, and I know the cookie's gonna crumble, and I know life is gonna suck some days, but I can't complain."
The tongue-in-cheek Brit rocker "Gloria" is directed to the female character in the title being accused of being an overprotective girlfriend, while "PTL," unexpectedly addresses the apathy following a one-night stand. Honestly, it comes as a major turnoff.
Zany and theatrical, "Disaster" tells the tale of a sour relationship headed south, while "When You Were My Baby" turns the tables and address the painful sting of lost love: "They say it's better to have loved and lost, but maybe if I stayed away from you, I'd be better off now."
"Sweeter" aids the advice that love just isn't worth the time, reminiscing the betrayal of a former lover. While I applaud Matt and the band for brutal honestly, ethically, this song just leaves a bad taste in my mouth.
Closing the venture, the album's mellow namesake "Collapsible Lung" serves as both the first and last uplifting tune on the record, even making a brief yet profound mention of the band's personal beliefs. I only wish we could have heard more of them throughout the album.
Closing Thoughts:
Longtime Relient K fans have reason to rejoice. With Collapsible Lung, their beloved band is back, and musically, better than ever. Working with multiple producers has conceived a sound unlike any of their prior albums, varying from synth-pop, modern rock, acoustic folk and everything in the middle. If we're rating on sonic merit alone, this project takes the cake.
Music aside, I do think some listeners will take issue with a majority of the lyrics found on this album. While I certainly appreciate the band for diving into issues that are rarely to ever sung about in the market, I felt some songs were addressed far too drearily, and at times, lacked an appropriate level of morality. It's a noticeable departure.
That said, Relient K has never been a band to wear a "Christian" moniker. They've always sung about the ups and downs of life, and have normally done so in a fashion that both believers and nonbelievers alike could relate to and enjoy. I felt as if this album missed the mark on that level. Here's to hoping that some of the brighter musings of young Relient K make their way back in the future.
SarahFine_NRT's Music and Book Reviews 
