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...
Eyes on the Everlasting | Posted July-22-2015
Much of the world is just beginning to hear about Australian husband and wife duo Eric & Monique, but it's an introduction that is long overdue. With ethereal tones reminiscent of Gungor and the lyrical accessibility of All Sons & Daughters, Eric and Monique Johnson have established a special sonic chemistry. This sound is captured beautifully in their latest release, Everlasting.
The album is structured in two "acts," with the first half wrestling with the conflict between doubt and faith and the second half resolving the tension in unrestricted worship. "Doubting Thomas" is representative of the first half, with bright piano supporting the admission "I know that You're there, even when I don't feel so." Haunting "Don't Miss the Boat" utilizes organs to create an otherworldly, almost apocalyptic sound as it cautions listeners not to lose sight of what actually matters (Jesus) amid cultural chaos.
The second half begins with title track "Everlasting," a track that is joyful in its sense of awe as it recognizes the eternal qualities of God. This track is an album highlight, underscored by piano which draws out the emotions of the lyrics. "There We Rise" serves as the closer of the album, wrapping it up on a note of hope as it looks towards Christ's return.
Musically, the album is at its best when it leans towards the orchestral, with strings swelling behind the piano framework as Eric and Monique's gorgeous vocals weave in and out. "Orion" is the perfect example of this dynamic, creating an ethereal musical landscape behind vivid yet reverent lyrics.
Closing Thoughts:
Everlasting is soothing and engaging in all the right moments, evoking worshipful awe and quiet surrender. Although the tracks that lean more towards the folk end of the spectrum seem to struggle a little bit with finding their footing, the sweeping sounds of the musical epic tracks absolutely find their mark. This is a must-listen for fans of Gungor, The Brilliance, Bethel Music and All Sons & Daughters, proving the vast potential of this duo from down under.
Dimming the Lights | Posted July-17-2015
The second installment of Jon Foreman's 4 EP, 24 song series is titled Shadows. Jon has said of this set "these six songs are to accompany the end of the day-- the light is fading, the darkness is growing and the night is almost here."
Musically, the shift in mood from the last EP is instantly perceptible and distinct. Here the whimsy of Sunlight is replaced by earnesty, the lilting pop tone tempered by more haunting melodies and hollowed out arrangements. Opener "Ghost Machine" recognizes our digital vices, mournfully commenting on the ubiquitous smartphone "my idolatry's in the pocket of my coat."
"My Coffin" picks up where Sunlight's "Terminal" left off, with a sound similarly stripped back to acoustic guitar and gentle percussion as it reflects on mortality and death's redemption ("through Maker's death / death is unmade"). "Siren's Song" builds from a slow slide guitar, a suitably haunting melody married to imagery of the ocean that has been so integral to Foreman's writing to build a song of call and desire.
Although all of the songs have a bit of an edge, the writing remains intelligent and at times unexpected. "Fake Your Own Death" challenges the listener to resurrected life: "Fake your own death and come alive / Fake your own death and live the life you've always been afraid of living." "Good for Me" is an introspective assessment of our tendency towards vices, towards "flourescent lights" instead of "the real sun."
Lead single "Your Love Is Enough" feels like a slight non sequitur in the conversation the other songs have built, although it's a strong and deeply reassuring track on its own. This song is the next chapter in what is now a trilogy, the prior installments being "Your Love is Strong" from Foreman's set of seasons EPs and "Let Your Love Be Strong" from Switchfoot's Oh! Gravity. These three songs all explore different facets of God's love for us, as beautifully expressed in the lyrics "I find my soul here in my Maker's arms / finally whole here in my Maker's arms / coming home / Your love is enough."
Closing Thoughts:
When assembling songs that have been written over the course of a decade, in countless different locations in his personal life and his career, a significant challenge was posed to Jon Foreman to make them coherent as a whole, as a narrative. Shadows shows us that he has risen to that challenge admirably, with this EP turning down the lights lit by Sunlight just enough to draw out the more haunting, introspective elements of Foreman's writing. Anticipation remains high for the second half of the series.
From the Ground Up | Posted July-14-2015
The Ongoing Concept has always been defined by their dedication to building a unique sound for themselves from the ground up-- an approach brought to the next level with this summer's Handmade. Fort his project, the rowdy post-hardcore band built all their own instruments, recorded the album in their house, and even created their own artwork and music video (down to constructing the set). And yet again, their hard work paid off.
The album carries the aggressive, over-the-top sound the group has become known for, which is evident from the first full track "Amends." The use of horns on this track and later on the cautionary "Soul" create a bombastic sound like Fall Out Boy turned hardcore, an impression strengthened by the incredibly hook-heavy melodies screamed by Dawson and Kyle Scholz.
Frenzied "Feel" channels a groove in its bass tones (courtesy of TJ Nichols) and brings out the subtly expectation-subverting lyrics that have marked the group's lyrics from day one: "you make me feel like I am worth nothing, but you're my inspiration." "Melody" is similarly clever piece of writing, creating a pseudo-folk vibe with its ukelele intro as it mourns the singer's difficult relationship with Melody-- which works whether you take it as referring to an actual woman, or as a personification of the elusive songwriting muse. Many of the songs deal with relational difficulties (even be it the relationship with music and creativity), but fresh lyrical methods save the well-tread ground from feeling trite.
Any time The Ongoing Concept's music reminds of another artist and teases sonic categorization, it instantly dances into new territory that yet again defines definition. "Unwanted" utilizes electronic elements, as has become increasingly common in rock subgenres, but here the synth lines are used to add texture and depth to the crushing guitars rather than to overpower or smooth them out. "Falling" harkens back to debut album Saloon with almost ragtime-style piano introducing bluesy guitar riffs.
Closing Thoughts:
Since their debut, The Ongoing Concept has consistently impressed me with their delightful originality and complete refusal to settle for what anyone else is doing. With Handmade The Ongoing Concept has crafted yet another post-hardcore masterpiece, with their personal fingerprints on every note. Their laudable dedication to even the smallest details have created a sound that defies comparison, and Handmade's ability to consistently surprise the listener is an achievement that sets The Ongoing Concept apart.
Rising Above the Storm | Posted June-29-2015
See The Rise is a band that has lived a lifetime before the debut of their first full album. With devastating heartache swirling around the band's early chapters, it's not surprising that the end result finally forged would be something strong. Their The Theft EP gave listeners a taste of what was to come, but the potential is finally fully realized with Exposures.
The five piece band is fronted by founder and vocalist Josh Myers, backed by guitarists Brian Elliot and Jason Law, bassist Andrew Davis and drummer Kyle Zahorski. The group aims to bring hope to those in dark places, but they don't take shortcuts along the way. They opt instead for honesty as raw and real as the guitar tones in their post-hardcore sound.
Thematically, much of Exposures deals with the concept of identity, finding clarity amid the confusion of life and the reality of redemptive second chances. "Self Portrait" portrays the constant fight to see ourselves the way God does, despite the way our mistakes can haunt us. The title track explores self-deception, warning "The most dangerous thing about a liar is when they think what they're saying is true / The most terrifying thing about a mirror is when you see that the liar is you."
"Proverbs 7," one of the darker moments on the project, explores betrayal and infidelity, ultimately expressing the need for wisdom through faith. "Hope in the Storm," one of the strongest tracks on the album, fights to find a solid place to stand in salvation through life's rougher moments.
Musically, See The Rise could easily rub shoulders with Warped Tour veterans, boasting a heavy kickdrum heartbeat and explosive sonic chemistry between Josh Myers and Brian Elliot's clean and rough vocals. "Self Portrait" features a distorted breakdown in the bridge that is sure to get listeners moving in a live show setting. Relentlessly honest and self-aware "In Omnia Paratus" features hefty guitar riffs rumbling beneath the soaring melody of the chorus.
In an album where many of the songs take a musically similar stance, the band made the wise decision to close with a ballad, which lends some needed diversity. The reflective "With You" is stripped back enough to let the lyrics take center stage as it professes a deep need for the empowering grace of Christ.
Closing Thoughts:
Perhaps what makes Exposures work is that See The Rise knows exactly what space they want to fill musically, and they have put the work in to claim and utilize that space well. Their message of hope and redemption is channeled into raw lyrics and brutal honesty well-suited to communicate with a crowd desperate to hear those truths. Similarly, their musical sensibilities and mastery of their genre are impressive, especially for a freshman act.
There has been a steadily growing void of new hardcore bands with the work ethic and character to endure and thrive in a difficult industry. The timing is perfect for See The Rise to help fill that void, and they clearly have the ability to do so. There is definitely room for the group to lend more musical texture and dynamic to their style as they mature. However, they know which direction they're headed in, and they're forging ahead no holds barred-- and if they continue with that same determination and dedication to excellence, See The Rise will be unstoppable.
A New Voice | Posted June-17-2015
Anastasya Laverdiere is a new voice in worship music, combining pure vocals with soothing piano and acoustic guitar to create an atmosphere of sincere reflection and gratitude to God for His redemptive love.
Her EP Draw Me Away released in February 2015, introducing her sound to the world. Title track "Draw Me Away" immediately displays her heart, expressing a deep yearning to be brought into the presence of God, knowing that life and peace can be found there. This selection, along with songs like "King," lean heavily on acoustic instrumentation to create a sound conducive to thoughtful prayers.
Songs like "God the Same" are a little more upbeat, drawing on electric guitar and a celebratory tone in the lyrics as it reminds that our God is the same one who has been faithful countless times in the past, and He can be trusted in our present circumstances. "He's Alive" also leans towards the energetic, fleshed out with synthesizers.
Every lyric on the project is vertically directed, marked from a deep desire to express thanks and know God better. "Nothing Better" earnestly declares "the more I find You the more I want, / cause You have become my greatest desire. / Your love is endless, Your peace, it stills my soul." "You Are Life" declares "I am swept up in mercy, covered by grace / Jesus, You are life."
Closing Thoughts:
This EP proves that Anastasya has all the right building blocks to become a powerful voice in the worship music community. Although strong musical elements are there, more importantly, her heart is clearly completely focused on her Savior and a desire to know Him better-- a desire she channels into every song on this project. These songs prove it's well worth staying tuned to see what she will continue to accomplish in years to come.
Excavating the Eternal | Posted June-15-2015
Caves is the brainchild of Josh McCabe and Matt Shaban, based out of Ontario, Canada. Their eponymous debut album was funded by a successful indiegogo campaign. The ten songs on the project were largely born out of a challenging season in songwriter Josh McCabe's life, a dynamic that keeps the songs personal.
The vertical songs have a sense of being slightly nostalgic in musical style without being dated, with clean alt rock arrangements reminiscent of where worship music was in the late 90s and early 2000s. The production however is slick and current, smoothing the dynamic of strong vocals over a guitar foundation.
The concepts presented in the songs are the simple, foundational truths that believers deeply need to be rooted in, especially in times of struggle. Upbeat "You're Alive" declares "we're living for the King, 'cause You're alive and I have been redeemed." Stripped back "Trust" carries a confessional tone, while "Stronger Than Death" has one of the strongest lyrical moments on the project in the words "Glory shone through death's defeat, perfect love upon that tree."
In addition to the capable musicianship of Josh and Matt, the album features some significant guest appearances. Amanda Cook of Bethel features on lead single "My God," a calming track well suited to her soothing vocals. "Take All Our Titles," a lengthy track which feels almost like spontaneous worship in its desire to be Spirit-led, features the vocals of alt rock and solo worship veteran Aaron Gillespie.
Although most of the songs on the project are original compositions, the duo chose to also record a reworked version of Delirious?'s "Obsession" (also performed by David Crowder*Band). Given that this track has long been a personal favorite worship song that I have always felt was vastly underrated, I was both excited and somewhat apprehensive to hear their take on it. However, the end result was extremely well done, fleshing out the sound of the original without losing the vulnerability of the lyrics.
Closing Thoughts:
It's rare that an independent band's first steps are so decisive and strong, but with their debut project, Caves proves that they know their way around the worship landscape. With firm grounding in quintessential spiritual realities and the musical skills to express them, this is a project that is both worshipful and relatable. Although there is certainly ground for Caves to find the elements that truly set them apart and carve out their own niche, their first forays prove how much promise there is for that to happen.
Shedding Some Light | Posted May-25-2015
Jon Foreman, the unassuming surfer frontman of renowned alt rock band Switchfoot, has been in the spotlight since the band's formation nearly two decades ago. After he had already established his voice as one of unconventionally honest spirituality, a trademark that won Switchfoot one of the most genuinely successful crossover careers in Christian music history, Jon decided that some of the songs stemming from his habitual writing needed a different home. The result was four EPs released through 2007 and 2008, each one titled after a different season.
The EPs have gained a strong following in their own right, with fans clamoring for more even as Jon Foreman focused on his responsibilities to Switchfoot and his folk rock side project Fiction Family. Seven years later, 2015 finally sees more of Jon's solo material coming to light in The Wonderlands, a project encompassing songs written over the course of the past decade. The 24 songs will be released as four new EPs, the first of which is Sunlight.
Foreman aficionados will likely notice right away that the production is a little more invasive on this project than on the prior four EPs, although that never detracts from the thoughtful writing. "You Don't Know How Beautiful You Are" is a soaring pop track that manages to stay vulnerable beneath its slick veneer. The song was featured as part of the To Write Love On Her Arms movie soundtrack, which is fitting given both Jon's long-term support of the organization and the tender lyrics: "Come surrender your hidden scars / Leave your weapons where they are. / You've been hiding, but I know your wounded heart / and you don't know how beautiful you are."
Although there's a certain element of whimsy (see "Caroline") that suggests, along with the title, that these songs may be some of the less introspective selections of The Wonderlands series, they are by no means spiritual lightweights. Both "The Mountain" and "Patron Saint of Rock and Roll" explore elements of what true faith looks like in a culture of cynicism and blind hypocrisy (found both outside and inside of our own spirits). Although "Patron Saint of Rock and Roll" in particular employs a tongue-in-cheek cleverness in its tone, the lyrics have an underlying bite.
The two tunes that play most like Jon Foreman classics bookend the collection. "Terminal" starts the album with reflections on mortality, employing a chord structure that subverts expectation and with just enough production to make the track come off slightly otherworldly. The lyrics draw on imagery from Job to explore our own transience, cautionary as Jon breathes "don't let your spirit die before your body does / we're terminal."
Album closer "All of God's Children" is a listener favorite which Jon has been playing at aftershows since 2010. This track's organic sound is smoothed just enough with the sound of cool piano beds and subtle strings to draw it in line sonically with the rest of this collection, although Jon's raw vocals and acoustic guitar remain relatively untouched. The song spotlights redemption in a shadowy world, providing what could conceivably be a thesis statement for much of his work past and present: "I've been waiting for love to give birth, for new life to show pain its worth."
Closing Thoughts:
Jon Foreman has become, in many ways, the unintentional voice of a generation-- the voice for the disillusioned, spiritually disenfranchised kids coming of age in the 21st century, desperate for a faith that can be experienced beyond the smoke-and-mirrors pseudo-piety of surface level Christianity. The Sunlight EP is a radiant example of why he holds that role, with reflections on faith that are accessible without ever taking the easy way out, lyrics that are in equal measure honest and hopeful and a musical style marrying his acoustic tones with contemporary production conventions. The first installment of The Wonderlands is a strong start for a promising EP arc.
The Best of Two Worlds | Posted May-19-2015
Wolves at the Gate is traditionally known for their no-holds-barred, theology-heavy approach to post-hardcore music. This has won them a dedicated fanbase who enjoys both engaging the energy of their sound as well as digging deep into the lyrics. New acoustic EP Reprise will make the later easier, presenting five fan favorites and one new track in a stripped back, ballad format that highlights the lyrics in a new way.
Contrary to what stereotype often dictates, hardcore singers tend to have some of the strongest, most fine-tuned voices of any genre currently on the market. The control it takes to slide between gritty screams and slick clean vocals demands vocal discipline, which can pay off beautifully in the event of a more restrained musical format. That is certainly true on Reprise. In addition to getting to hear a different side of vocalists Steve Cobucci and Nick Detty's voices, Wolves at the Gate draws on some powerful guest vocalists from groups like For Today, Come Wind and Citizens & Saints.
Perhaps the most notable guest vocal is offered by Emery's Toby Morell on "Relief." This song builds from Christ's words in 11:28, calling "come all ye weak and contrite, I'll strengthen and clothe you in white." It's a call that is particularly poignant in this quieter format, and Toby's vocals are a tasteful addition.
Many of the songs take on a different personality in this format, such as "The Bird and the Snake." In its original heavy incarnation the parabolic song felt harsh and borderline frightening, but here its delivery is mournful and evocative. The ethereal epic which ended VxV, "The Father's Bargain," is abridged and altered here to the shorter "Bargain," which carries the same exploration of the conversation within the Trinity about atonement, but in a way that is more musically accessible. Zach Bolen's (Citizens & Saints) vocals help round out the track.
New track "Waste" closes the album. Although it may have been easy to revert to the heavy sound for the new track, Wolves at the Gate opted to create another contemplative, haunting ballad in keeping with the sound of the rest of the EP. The song is a narrative, exploring the deep grace of God and the concept of both warning and mourning those who will not accept it. The result is darkly contemplative, sobering and instantly memorable.
Closing Thoughts:
I'm a sucker for some good hardcore, and also a sucker for well executed acoustic music. Reprise is the best of both those worlds. Wolves at the Gate's lyrics have always been so theologically rich, full of inventive imagery and spiritually challenging concepts, and this format brings that strength to the fore. Reprise is a moody yet redemptive masterpiece in 6 tracks, proving that Wolves at the Gate is certainly more than a one trick act.
Shining Bright | Posted May-19-2015
For The Spark, worship is more than a moment that occurs in a limited Sunday morning timeframe. The group's music grew organically from a lifestyle deeply involved in their local church in Kenosha, WI, and its corresponding School of Worship. Members Chris Marvin, Rosalie Marvin, Nick Kraeuter and Mike Berea have completed several worship albums over the past several years, leading up to 2015's crowd funded Burning Hearts. The group's origins in serving the local church and focusing on both the Word and the movement of the Spirit still hold fast, forming the foundation on which this project is built.
Opener "Burning Hearts" sets the tone for the album with its wide-open musical landscape and lyrics balanced to be powerful both in personal moments of worship and in congregational settings. The bridge lays the thematic groundwork: "I was the broken, I was the orphan / then You revealed Your love / I was awoken. / We are the burning hearts, set apart to shine like stars."
Much of the album is celebratory in tone, focusing on the big picture redemption of Jesus Christ. "Your Love Goes On," which has an electronic vibe and beat-driven structure that reminds of Hillsong Young & Free, is one such anthem, and an album highlight. "Sing Out" also focuses on deep joy in response to His love, suitably backed by upbeat instrumentation.
The Spark also excels however in quieter moments of reflection, in recognizing the presence and praiseworthiness of God in the valleys of life. "When You Call" leans more on acoustic guitar and a gentle melody to offer the reassuring affirmation "when I walk through the valley of dark / I know You're with me. / Under the shadow of death / You are my strength." Similarly, "I Belong to You" is a gentle but determined statement of devotion and longing.
Closing Thoughts:
Burning Hearts displays an adept awareness of how to help focus a congregation's voice, a skill that can only be honed through earnest on-the-ground experience in the local church. It's also an extremely rare accomplishment for an independent, grassroots group to be able to achieve massive anthem sounds that could stand shoulder to shoulder with Hillsong alongside reflective, Spirit-driven contemplation reminiscent of Bethel. Somehow The Spark manages to find footing there without feeling pretentious. This release may not have the international awareness surrounding other worship acts, but it would be a mistake to pass this album by.
A New Flightpath | Posted May-03-2015
For a group who has always been intentional about connecting well with listeners, independence and fostering a more direct fan-to-band relationship was really the logical next step-- a step Fireflight has embraced.
After a successful PledgeMusic campaign to get their first independent album off the ground, the group had to delay INNOVA due to the news that lead singer Dawn Michele was pregnant. Now, a month after the arrival of Dawn's son, the group's new album is finally making its way to the fans who have supported it.
In an NRT interview last year, Dawn said of INNOVA's direction "What we've wanted to do is bridge where Fireflight has been in the last 14 years and where Fireflight wants to be, what we're growing into." This intention is immediately apparent in the sonic stance of the album, which dials back the guitar influence and turns up the electronic ambiance. Opener "Keep Fighting" displays this dynamic beautifully, with a hefty beat backing the encouragement to listeners who are facing painful situations to keep fighting.
"Resuscitate" has a similar undercurrent as it reflects the reality of a God who brings life to the dead places in us. "Lightning" beautifully blends the synth elements with a steady guitar bed, pulsing with energy in tandem with the lyrics' declaration of every soul's unique radiance. "You were never made to fit the mold / be a supernova and explode" the song urges.
Some of the album's highlights are found on selections that blend a slightly darker tone to the electrorock vibe. Latest single "Safety," which features Anberlin's Stephen Christian on guest vocals, is one of the standout offerings on the album. There is just enough of a moody edge (a sound aided by Stephen's searing vocals) to reference Fireflight's first two albums, while the electronic instrumentation points towards the future. This song also features some of the most memorable writing on INNOVA, with the chorus painting vivid pictures of solace in our soul's dark nights: "In the light, in the dark, I will be your bleeding heart / Cause when you need me, I'll be your safety."
"The Fallout" is another album highlight, showing off a different sound from Dawn Michele's voice than anything we have heard on previous Fireflight efforts. The sound of the track captures the same tension in the lyrics, the crossroads of trying to decide whether to move forward into healing or stay immobilized by the harms of the past. The sharp staccato beat weaves in and out of Dawn's vocals, which are alternately abrupt for impact and smoothly soaring.
The album's ballads are also highlights for those who are drawn to the gentler side of Fireflight (an area where they tend to shine, such as on "Wrapped In Your Arms" and "Name"). "Easy to Break" explores the way God is so gentle with our hearts even when they are at their most vulnerable. Gentle piano and acoustic guitar intros "Light Inside," which emphasizes that the value of souls can't be dictated by the world's recognition or fame. The affirming lyrics gently remind "Don't waste your time chasing neon lights / There's a light inside of you."
Closing Thoughts:
INNOVA is an album that will be well worth the wait for eager fans. Beautifully striking the delicate balance between rock and roll honesty and electronic innovation, this project is one of the best yet from Fireflight. The songwriting showcases the best of Fireflight's thematic focuses, pointing to God's love and the way that makes light available to us even in our darkest hours.
The only flaw in an otherwise strong release is that it feels a bit overlong, with some of the songs mirroring the themes and sound of others so closely that they feel a bit superfluous. Trimming the 12 tracks back a bit might have made for a tighter album overall. However, that minor factor aside, INNOVA is both heartfelt and musically refreshing. For me, this is one of the musical high points of the year so far.
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