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...
Crossing the Barriers | Posted September-30-2015
Atlanta based artist Noah Cleveland and his wife are aiming to cross boundaries with their organization Be Loud Ministries, a goal they approach in part through the universal language of song. The latest step in that pursuit is the Church Without Walls EP, a collection of six tracks with a clear mission to erase divisions and welcome everyone into the family of God.
The title track "Church With No Walls" lays down the mission statement: "let the world hear us say we are the church, the church with no walls / shout to this city, come one, come all." This song is also one of the stronger musical moments in the collection, with a unified sound ready for a corporate declaration. "My Savior Lives" is another declaration song, explaining the true value of the resurrection and rejoicing in that victory.
"Lifeline" has a strong theme of viewing Jesus as our lifeline no matter the circumstances of life, though musically this one seems to struggle to find its footing between electronic elements and a more traditional AC sound that don't quite mesh (a challenge "Falling Into Place" also faces). Some of the strongest writing on the project closes it with "You're My Hope," a song which speaks to life's disappointments and doubts with the lyrics "when I feel alone in the valley and shadows start to surround me / You're the light that keeps me hanging on. / You're my hope, and Your Word will never change / You're my hope, You alone stay the same."
Closing Thoughts:
Noah Cleveland's mission to take the news of the redeeming power of Christ beyond the walls of a church building and into a world hungry for His love is clearly worked out through this collection of songs. This EP could be a powerful ministry resource for those working in outreach ministry. Noah does still seem to be working on creating a coherent sound, as at times the musical arranging seems somewhat scattered. However, with a mission this powerful and such strong truths embedded in the core of his work, that development promises to follow.
Life From Death | Posted September-25-2015
After over 20 years in the business of rock and roll and directly following a seismic shift in their lineup, 2014 saw Disciple setting out on the independent path with fan-funded album Attack. The greater degree of freedom along with the addition of new members from a variety of musical backgrounds breathed new creativity into the veteran act, proving to make Attack one of the strongest Disciple releases yet.
In fact, the songs written for Attack were so strong that not all of them fit on just one album. Enter Vultures, the six song EP scavenged from the best cuts that didn't make Attack.
Although the process behind assembling this EP might make it tempting to relegate Vultures to the category of your average b-sides release, that would be far from an accurate assessment. The songs collected here didn't make the original album cut for reasons of thematic variance alone; the quality is by no means less. Take heavy hitting highlight "Awakening," featuring gravelly riffs in the moody verses that give way to a soaring melody in a chorus revelling in a life that has collided with Jesus's redemption: "there's a reason I breathe / cause my heart is the beat to the song that You sing in my life."
A significant part of what sets these songs apart from recent Disciple releases is a darker tone, both musically and in lyrical themes. "Sayonara" and "Snooze" both deal with the process of cutting ties with the past and its harmful relationships and habits. Building from a searing riff and a solid beat backbone laid down by drummer Joey West, "Sayonara" offers the desperate cry "these chains remind me of who I was / this pain reminds me of who I was. / Oh God, can You save me from the things I've done?"
Although there's plenty of heavy material here to satisfy the headbangers and metal aficionados (see the dual guitar intro offered by guitarists Josiah Prince and Andrew Stanton on "More"), two softer tracks serve well to bring the emotionally raw tone that has made prior songs like "After the World" and "Invisible" resonate with listeners over the years.
"Bring the Dead to Life" highlights the writing input of recently departed bassist and vocalist Jason Wilkes as it paints a picture of a soul in the dark, crying for resurrection: "Let the grave burst open wide / cause I'm desperate to breathe tonight. / Lead me out of this cemetery." "Breaking Down" is one of the most stripped down tracks Disciple has ever released, beginning by showing a more vulnerable, dialed back vocal tone from Kevin Young layered over simple piano before building to a crescendo with the bridge's cry of desperate surrender.
Closing Thoughts:
The Vultures EP may just confirm what Attack had fans suspecting: this could be the strongest Disciple lineup yet. The tight set of six songs holds its own in both hard and softer territory, operating as a surprisingly coherent musical unit despite the fact that they were not written to be that way. Vultures is set apart from the spiritually empowering fight songs found on Attack by its brooding edge, drawing out the midnights of the soul in order to declare the presence of Christ's grace in even the darkest moments. This sets these songs as beacons both for rock listeners needing some new tunes and also for struggling souls who need the assurance that our worst moments will never be able to count God out.
Worship in Motion | Posted September-18-2015
The ministry of Planetshakers began in Australia and has quickly spanned the globe with their passionate, upbeat brand of worship. #LETSGO, the most recent offering from the Aussies, is perhaps their most energetic yet, with 15 live recordings designed both as declarations and as calls to global mission work.
The title track "LETSGO" instantly introduces the electronic style of this collection, framing the celebratory cry "death is over and I'm alive / I'm taking hold of this victory." This supercharged, Spirit-fueled dance party vibe returns often throughout the album, notable as well on songs like "All About You" or the heavily EDM-influenced "New Era."
There are moments of rest presented here as well, as with the reverent "Home," which marvels at the safety we find whenever we seek God's presence. "Glorious Collision" builds from simple piano and vocals into a soaring anthem. "I Believe" begins with a similar gentler sound, giving clear room for the lyrics "Hallelujah! You said 'it's done, death is overcome.' / Oh hallelujah, You washed me clean and now I'm free."
Live albums always present a challenge in attempting to capture the heart of the event at which they were recorded, but #LETSGO balances the soaring voices of the crowd in perfect measure with the sound of the band to highlight the fact that this experience was much bigger than the musicians on stage. On tracks like "Stepping In," the crowd can be clearly heard swelling behind the main vocals, helping the listener feel like they're a part of the same collective corporate voice.
Although for the most part the album stays the course of electronic-influenced-arena worship, there are surprising moments tucked towards the middle of the set. "Turned it Around" sounds borderline gospel in its construction at moments, "Love of My Life" has a soul vibe in the intro, and "Born to Praise" boasts a funky groove and the addition of a rapper. The deviations feel a little out of place, but they do serve to mix things up.
Closing Thoughts:
Planetshakers has stated that they believe life transformation occurs from encountering God and spending time in His presence. #LETSGO voices that kind of call, beckoning listeners to enter first into worshipful communion with Him so that they can go from there into all the world with His Spirit and truth empowering their lives.
Although the album definitely captures the atmosphere of the evening during which it was recorded well, there are moments when it struggles to stay both engaging and coherent in equal measure-- a challenge perhaps intensified by the album's length. However, the heart behind the project still rings clear, promising to usher listeners into the presence of God.
Emerging from the Storm | Posted September-07-2015
South African rock group Tree63 had a significant impact in the first decade of the 2000s. Their music gained momentum on their home soil, eventually crossing the ocean to win a Dove Award for Rock Album of the Year in 2001. The next nine years would see the band's consistent influence, including a standout recording of Matt Redman's "Blessed Be Your Name" which helped push the song to prominence. The group eventually disbanded in 2009, with lead singer John Ellis returning to South Africa to create solo tunes. They weren't done yet however, with a few reunion gigs in 2014 resparking musical chemistry. The result of that rediscovered potential was a kickstarter campaign and, ultimately, their most recent release, titled Land.
Listeners will instantly notice that the sound of this album harkens back to the early 2000s with its bright yet slightly fuzzy electric guitar tone and rhythmic melodies. Celebratory "Alive" showcases this sound wrapped around lyrics that praise God for rescuing us from deep waters. "The Greatest Story Ever Told," a song of reassurance and hope, has a quirky intro and consistent energy reminiscent of 90s cornerstone acts like Newsboys.
This is not to say however that the album feels dated. The production is slick, and tracks like "Standing On It" bring fresh musical swagger and just a touch of folk influence. Throbbing, mysterious "Whisper" promises to turn heads with its ethereal sound and breathless contemplations about the Spirit and Kingdom of God.
Throughout the album, that is an element that sets Land apart from most of its contemporaries: the lyrics are more complex, the theology less cut and dried, the musings more honest. This does mean that its accessibility to broad audiences is reduced, but the trade-off result is refreshingly rich and unabashed reflections on what it's like to walk in relationship with God.
Much of these reflections come from life's storms, with the overarching metaphor for the faith journey being that of a ship striving to reach the shore-- an arrival that is promised even though we may get there somewhat world-worn, as "The Storm" beautifully portrays. "Hard to Believe," which comes from a place where the grace of Jesus Christ seems difficult to believe in the face of times of His silence, is another track which beautifully represents the raw core of this album.
Ultimately however, even the darkest songs are sung in awareness of the promise of rescue. "Ship" captures this tension through praising God for His redemptive intervention. Album closer "Never Had a Winter" completes the album on a note of gratitude for God's unrelenting faithfulness despite life's hardships.
Closing Thoughts:
This album brings some of the best elements of the last era of Christian rock into the present day, providing a welcome breath of air in a genre where many albums have toned back both the sonic and lyrical edge for the sake of accessibility. This is what it looks like when worship is written from the heart of the soul's storms, honest and raw and incredibly powerful. The guitar grit married to some melodic whimsy creates a perfect backdrop for those themes. Although this album may largely appeal to a particular niche, for any who choose to sail into its rich waters, it is a voyage well worth the taking.
Singing in the Dark | Posted September-04-2015 Darkness, the third EP of Jon Foreman's The Wonderlands series, has arrived, bringing with it subtle strings, searing questions and tunes well suited to the dark hours of the soul. This collection of songs is instantly recognizable as a progression from Shadows, picking up after sunset and twilight have faded into midnight.
"Come Home" begins the collection with a gentle melody walking over piano chords and understated percussion. The song holds one of the many thesis statements of The Wonderlands set as a whole, with Jon crooning in the chorus "this is the meaning of life: you were meant for the dance, not the fight." Poignant "She Said" carries similar themes augmented by deep throated cello, declaring hope in the face of incredible pain in a bridge that is easily some of Foreman's best writing yet: "You're the only thing that's true in this whole world of black-eyed blues and disillusioned points of view / and I won't let go. / The pain feels like a knife, but I'm not giving up on life."
Musically, this is the least fleshed out chapter so far, leaving hollow spaces in the instrumentation to match themes of searching through the empty places in our souls. Haunting stand-out "Beautiful, Pt II" is a perfect representation of this, with simple, bright acoustic guitar contrasting with eerie string tones and the aching, half-pleading lyrics "you look like a funeral, but I see right through. / You're so beautiful, you're just used to being used. / Stuck in a crucible of consume and consumed, you're so beautiful."
Despite capturing the darker hours of the day, there are songs here that speak of healing as well as wounds. "You Alone" is a bright track similar in musical voice to "Your Love is Enough," crying out in earnest prayer "I surrender any illusion of, any semblance of control / You alone can heal my soul." "June and Johnny" echoes the same whimsy that was so captivating on some of the tracks from Sunlight, a soft love song written for the middle of the night. "Larger Than Life" speaks a soul's worth in unique wording: "you're larger than life my friend, you're bigger than what you've been."
Closing Thoughts:
Although it's hard for a songwriter as lauded and experienced as Jon Foreman to top his own prior accomplishments, with Darkness he may have achieved just that. These introspective gems from the heart of human hope and pain shine like stars in the dark. Between the storytelling in "Beautiful, Pt II," the defiant hope of "She Said," the soul-assessing musing of "Inner Peace" and the reassurance of "You Alone," the Darkness EP showcases Jon Foreman's strength as a bard of the spiritual sojourn perhaps best yet of The Wonderlands EPs.
Musically, this project is equally strong. Drawing on production input from stellar artists like Noah Gundersen, Taylor York and Jon Howard (Paramore) and Cubbie Fink (Foster the People), every arrangement is beautifully balanced to tell the story musically as much as lyrically. This EP holds some of the strongest songs of 2015, walking the listener towards hope and the final Wonderlands installment, Dawn.
Waking Up Rock and Roll | Posted August-26-2015
There have been few hard rock groups in the 21st century as influential in both the Christian and mainstream rock spheres as P.O.D. The reggae-fueled, California-based rockers have been a consistent shaping force through the rapcore movement of the early 2000s to the current day, where they are one of the few veteran groups still sticking to their rock and roll guns in a pop-fueled world. Albums like Satellite, Payable on Death and Testify spawned genre-defining anthems like "Boom," "Alive," "Youth of the Nation," "Will You" and "Goodbye for Now." The frequency of releases has slowed down considerably in the last seven years, but that just leaves the hype that much higher for the group's latest, The Awakening.
P.O.D. frontman and songwriter Sonny Sandoval has revealed that the album is a kind of concept album, sharing in an email to fans "Every song ultimately explores a character dealing with life, making mistakes, fighting, trying. But we also live in a singles-type world, and it works on that level, too." This information brings clarity to the album's structure, with most songs bookended by fragments of dialogue or other sound bites giving us glimpses into individual narratives.
For the most part, these individuals the album follows are facing some kind of life struggle. Opener "Am I Awake" features a subject in a dream-like state of confusion, walking through life wondering "Am I awake, or is this just a dream? / I'm not the same since you went away." "Somebody's Trying to Kill Me" captures paranoia and fear at its most intense, blurring the line between physical and spiritual realities as the anguished lyrics keen "somebody's trying to kill me, or is this all in my mind? Somebody's trying to kill me, I hope I get out alive."
"Criminal Conversations," one of the strongest cuts on the record, unravels the tangled thought processes of a man having an affair (with the other end of the conversation provided by In This Moment's Maria Brink, whose raspy vocals perfectly complement Sonny's). Adrenaline-fueled, guitar-heavy "Speed Demon" starts and ends with audio of someone stealing a car, framing the song with its theme of fast living bordering on the self destructive.
Musically, dedicated fans will recognize in this album a sound closer to Satellite and Testify than 2012's Murdered Love. The reggae influence is more muted, although still present particularly on songs like "Revolucion." Grungy guitar riffs propel many of the songs, with songs like the cultural commentary "Get Down" riding blistering riffs that give the song a hard punch. The final track, "The Awakening," explores a complicated father and son relationship and coming to a place of hard-won forgiveness.
Closing Thoughts:
Making a rock record in 2015 is no easy task, but these masters of the craft have pulled it off with apparent ease. The Awakening is the kind of album any P.O.D. fan would hope for, with hints of reggae and rapcore bolstering rugged guitar tones and lyrics unafraid to dig deep and speak clearly. Tackling a concept album with this much of a social commentary element is also risky at best, but The Awakening succeeds largely because it tells difficult stories frankly, without disclaimer or apology. There is no attempt to gloss over anything on this album, be it life's hardest questions or rock and roll's most abrasive grit. All of these things make The Awakening easily one of the strongest rock releases of the year, a must-have for longtime fans and newcomers thirsty for some heavy music with substance.
Purposeful Pop | Posted August-22-2015
Abigail Duhon is a teenager with a passion to follow God's calling on her life through art, specifically her EDM-flavored pop tunes. Even at a young age, Abigail's mission is already established: "I want to reach my age group with the message of Christ."
Her More Than Gold EP gives audiences an initial taste of how she plans to do that. The EP features two versions of her latest single "Dance Up," a club-ready track featuring fellow freshman artist Spencer Kane's slick vocals. This song would be right at home with its top 40 counterparts, and although the lyrics are focused on dancing and having a good time, they remain clean and positive.
"Give Me More" is another pop track that focuses on a desire to avoid settling for temporary pleasures, looking instead for purpose founded in eternity. The message is a particularly relevant one for teenagers and young adults navigating the dizzying array of choices the world presents. "More Than Gold" is a beautiful piano-centric ballad that assures listeners who may be struggling with their sense of worth "you are worth more than gold / a beautiful story waiting to be told."
Closing Thoughts:
Abigail Duhon has a voice reminiscent of the tones of pop peers Selena Gomez and Demi Lovato. Given time and the steady snowballing of word-of-mouth recommendations, she could easily hold her own in the pop radio format-- breathing a much needed sense of integrity and greater purpose into that musical setting. Her sound is still in the process of being polished, and a few of the tracks feel a little unfinished, like they could benefit from more developed instrumentation. Abigail is definitely on the right track however, and you can expect to be seeing more from her in the years to come.
Song to Download Now:
"Dance Up (feat. Spencer Kane)" (Get it on iTunes here.)
Gospel Focused Folk Tunes | Posted August-11-2015
The sound Ghost Ship has built is one of gentle folk tones underscoring eternal truths expressed in relatable phrasing as comforting as the easy banjo lines. Their latest effort Costly comes from a difficult year, as leader Cam Huxford watched his home church Mars Hill disintegrate at the end of 2014. Now working in partnership with BEC Recordings, the group is undeterred in sharing their soulful worship tunes.
The folk sound is consistent throughout, with fantastic slide guitar buoying up celebratory gospel tune "Scarlet" and banjo lending to the reflective tone in "Provide." The percussion choices are simple but lend tracks like "Adoption" personality and balance.
Thematically, these are songs of declaration and assurance, often voice in the face of struggles. "Fear and Love" reassures beautifully "there's a steady Voice in my ears though they ring. My heart echoes out Your own words as it beats: my child, do not fear, do not fear." Mellow "The Way" sings "There must be a way to live through this, there must be a way for us. Jesus, Jesus, Jesus, You are the Way, the Truth, the Light. You are the way through this night."
There is also a fair sampling of songs that are fully celebratory, such as upbeat "Look What God Has Done" and "You Loved Us First." They excel in this sound as well, showing skill in creating joyful tones without simply building massive arena-sized instrumentation.
Closing Thoughts:
A few years ago, it seemed that quite a few artists were attempting the "Mumford & Sons goes worship" sound, with mixed success. Unfortunately for those who relate to folk music influenced stylings, the phase largely passed without many groups learning how to temper and tone down the style to become something lasting and accessible. The answer to this problem may be Ghost Ship. They are able to employ the folk sounds without it feeling over the top, utilizing it to create joyful and earnest worship tunes that set them apart from most recent worship releases. Especially for those looking for words of worship that they can sing honestly in the midst of hardship, Costly is a timely release well worth your time.
Shimmering Synth Pop | Posted July-30-2015 Saint Esprit (meaning "Holy Spirit") is a new electropop group from Dream Records. Their debut EP released this summer, introducing listeners to their blend of worship and smooth synth tones.
Opener "Wildfire" kicks off this fusion with upbeat, shimmering summer tones in the techno-infused tune. "Never Alone" is a little moodier, with heavy distortion on the fronting female vocals and a darker EDM beat behind the words "I'll sit with you until it's alright / you're never alone in the daylight." "Home" is another slightly moodier cut as it invites listeners to "find our way back home."
The interaction between the electronic elements and the simple lyrics remains measured and engaging through 80s-tinged "Where Do We Go." Although simple, the lyrics don't feel trite, but rather the simplicity works well with the way vocals are utilized almost more as another instrument through the dreamy synth soundscape. "Shelter" is the most worshipful piece on the project, declaring "I won't be afraid when the arrow comes my way / I won't be afraid / Shelter, shelter, You're the one that covers me."
Closing Thoughts:
This debut EP proves that Saint Esprit has all the key elements for energetic synth-pop perfection in hand, although sometimes the execution lacks polish. With some honing, they could be a stand-out voice in Christian EDM-- a genre still largely underpopulated, which means it's a welcome sight to see these promising newcomers moving in. At six original songs plus one remix, this also features like a more satisfying introduction to the group's sound than many other recent EPs. This is a group to watch, and in the meantime, the EP could be a good addition to your summer soundtrack rotation.
A Final Bow | Posted July-24-2015
When Anberlin decided to play their career milestone albums Never Take Friendship Personal and Cities in their entirety back to back last fall in New York while on their farewell tour, fortunately the event was recorded. Fans have already been treated to the live recording of Never Take Friendship Personal: Live In New York City, and now Cities: Live In New York City is made available in partnership with Tooth & Nail-- the label that Anberlin was signed to for most of their career, including their final record Lowborn.
Cities, which released in early 2007, was one of those charmed moments in time when the album the band created was perfect for the atmosphere they launched it into. I was at the time among the pseudo-emo introspective Warped Tour kids for whom the album struck a nerve, sending reverberations far into my adulthood and impacting how I would approach every alt rock record following. And I'm not the only one, with Cities being widely acknowledged as one of the defining albums of its genre and its decade.
With the iconic nature of the album among its subculture and the wave of energy that pulsed behind every moment of Anberlin's farewell tour, this live recording was sure to be something special off the bat, if only for the extremely viable flood of nostalgia. From the drawn out intro to heavy rocker "Godspeed," the crowd mics pick up palpable expectation. And indeed, the crowd is a consistent presence throughout the album. This is to be expected in a live recording, but Cities: Live in New York City takes it to the next level, with frontman Stephen Christian often breaking off to let a captivated crowd scream every word in his place.
On a technical level, this album is largely successful in capturing the incredibly coherent, unflaggingly energetic performance the five piece consistently offered. The keen guitar edge honed by Christian McAlhaney and Joseph Milligan is immortalized on tracks like the searing "Whisper And A Clamor." Another track that exemplifies this is "There Is No Mathematics to Love and Loss," captured in both its first and last ever live performance.
The rhythm section is equally on point. Drummer Nate Young's beats are at once wild and flawlessly measured, carrying even the slightly pop-leaning offerings like "Adelaide." Deon Rexroat's bass tones rumble beneath tracks like "Reclusion," serving as a foundation for the soaring melody. All of this simply proves that Anberlin was as a unit both entirely united and entirely at the top of their game when they chose to step away.
Haunting "Alexithymia" illustrates the way Anberlin's lyrics have found a home in the personal narratives of listeners, with the crowds' voices soaring through the chorus "there's more to living than being alive." "Dismantle. Repair" holds a similar command of the audience's voices throughout the brooding lyrics.
Although the heavy tracks do a fair amount to represent the way the group had the entire audience captivated, the slower tracks are able to capture that dynamic in their own way as well. On tracks like "Unwinding Cable Car," the choir of fan voices makes the already spiritually pointed track all the more poignant and otherworldly as the entire room sings "this is the correlation of salvation and love. / Don't drop your arms, I've got your heart / with quiet words I'll lead you in."
The legacy of Anberlin is perhaps captured best however in "*Fin," a track which could be considered a magnum opus. The moody spiritual epic captures every area in which Anberlin excelled: Stephen Christian's relentlessly introspective lyrics and crystal clear, almost ethereal vocals, gut wrenching guitar tones, the perfect ebb and flow of musical energy and an ability to create a tangible sonic atmosphere unlike anything listeners are likely to hear again. The song wraps with Stephen and the fans singing together the haunting closing lyrics from Lowborn's "Harbinger" over the instrumentation, the phrase that has become Anberlin's legacy: "we'll live forever."
Closing Thoughts:
It's uncertain at this point if Anberlin has any more material in their vaults to share at some point down the road, but for now we can likely expect this to be the last we hear from them for the foreseeable future. And it's a good choice as an encore to the main body of their career, this marriage of cornerstone material and the moment of their farewell. As far as simply live recordings go, this is relatively standard fare. However, the powerful memories and the passion of band and fans working in tandem make this something more. Cities: Live In New York Cities is a must-have addition to any Anberlin die-hard's library, and a helpful retrospective for fans who never had the chance to see them perform live. For this long-time listener, it was the perfect final bow in a storied career.
MaryNikkel_NRT's Music and Book Reviews 
