The InBetween
by
Scarlet White Black or white. Hot and cold. Good and evil. Dead or Alive. Extremes on continuums. And in-between? An infinite series of points on the scale. Something that seems to define Scarlet White....
If the internet era has bequeathed artists anything, it is the ability to find and grow an audience, and from there attract notice from the music industry. The independent musical landscape is...
Code of Ethics, one of the quintessential, if sparse purveyors of dance music from a Christian perspective, makes its return to the scene with the delightfully retro and classically 80's / 90's Lost in Egypt. Despite a five year absence from the music scene, Barry Blaze and Co. serve up a head-bobbing, hyper-tempoed set of electronica that is imminently danceable and spiritually comprehensible.
While the songs of Lost in Egypt are not necessarily musically prescient, they are well-crafted, multi-layered examples of electronica creativity at its best. Blaze and Co. adhere to the conventional conventions of electronica: high beat counts, loops, samples, repetition, and glisteningly slick production; but also add enough modern nuances to keep things fresh and provocative.
CoE’s brand of high energy techno holds its own with genre-definers Tears for Fears and Depech Mode, as well as peers Ultrabeat and The Echoing Green. In fact, Blaze’s cover of Depech Mode’s “People Are People” is like cloned mimes doing a reflection routine; and it remains as morally relevant today as was the Mode’s version. Welcome back Code of Ethics- your music and message have been missed.
Enjoyin' The Sweet Bye & Bye | Posted January-12-2009
Julissa Neely’s latest, The Sweet Bye and Bye, is an album of songs that pays homage to her musical heritage and life experiences. Informed by mid-western jazz, the acoustic gospel music of tent-meetings with subtle hints of Black Gospel, and modern cross genre adult-contemporary, each track flows with a spry smoothness and jazz-influenced undercurrent. Ms. Neely’s breathy trill is simply captivating. Ably backed by skilled musicians and top-notch production, the songs of The Sweet Bye and Bye sparkle with a deep luster missing from much contemporary music.
From the jaunty opening of “Glory Hallelujah” to the serene closer “In the Valley,” Ms. Neely has created a scrape book album of songs that reflect the rich legacy of the past, cast with a contemporary sensibility. If artists like Addison Road, Alison Krauss, Carolyn Arends, KT Tunstall, Rilo Kiley, and Sara Groves are your cup o’ tea, then be sure to acquaint yourself with Julissa Neely.
First: this isn’t the Waterdeep you’re used to, especially if you associate the band with folk-influenced, modern acoustic worship. Secondly: that’s not a bad thing as the Chaffers (Don & Lori), who form the core of the band, take the opportunity to uninhibitedly loose their musical muse. Pink and Blue is a collection of contrasting juxtapositions expressed musically, lyrically and emotionally- beginning with the male/female allusion of the title.
The musical tempo of Mrs. Chaffer’s half of Pink and Blue wanders between a lo-fi 70’s pop vibe and unpretentious punk but never strays from the indie rock sound embraced by bands like Paramore and Arcade Fire. Her sparse, breathy soprano conveys gut-level honesty touched by delicate melancholy; and stands in contrast to the bright, driven liveliness of the music. The “Blue” half of the album finds Mr. Chaffer musically meandering between indie rock and alterna-folk with a liberal dash of Americana thrown in for good measure. His vocals and delivery stands in contrast (go figure) to Mrs. Chaffer’s, meandering between self-assured observation and husky musing, conveying a subtle urgency. Both halves are tied together by the raw, perceptive and matter-of-fact lyrics that offer reflections on life.
Pink and Blue is a series of artistic snapshots that fall across a broad spectrum of Waterdeep's two creative leads' experiences. It’s conceptual and experimental, but remains accessible. If you’re a fan of direct, intelligent, and quirky music from artists that dare to color outside the lines on occasion (re. The Shins, Sufjan Stevens, Over the Rhine, Jon Foreman, Iron & Wine, David Crowder Band’s more eclectic endeavors, and Arcade Fire), don’t hesitate to get this album A.S.A.P.
If you’re relatively new to Christian music, chances are you’ve never heard the name Kemper Crabb. Heck, you could be a veteran of CCM and still not know his name; but it certainly bears mentioning in the same breath as Larry Norman, Barry McGuire, Chuck Girard, Amy Grant, Phil Keaggy, Andre Crouch, et al. Crabb’s musical influence was a distinct and compelling one, which helped shape and mature the genre of modern Christian music, albeit many times it occurred out of the spotlight.
With Christmas just around the corner, Kemper Crabb lends his considerable skill and talent as musical priest to a new Yuletide album. Downe In Yon Forrest is a beautiful and spirited Christmas worship experience, as well as being a memorable tribute to the musical genealogy of Christmastide music and carols. The album brims with cheer- passionate and flamboyant, without being over-wrought. Crabb and his musical compatriots create a vividly celebratory Christ-mass experience for their audience and the listener. The production on this live album is every bit as phenomenal as the music and performances.
If anyone tells you that the musicians of the Middle Ages couldn’t rock, you can tell them they don’t know what they’re talking about, because after experiencing this album you’ll know different. Looking for something that is at once musically inventive yet remains true in spirit to the tradition of Christmas? Then order Downe In Yon Forrest and embrace an ages-old tradition and partake of a Yuletide worship experience led by Kemper Crabb. Fan of artists who bring a world-music flavor to their work like 100 Portraits, Caedmon’s Call, IonaEnya, and her sister Maire Brennan will find this Yule-time collection delightful.
While her name might not be familiar to many, Anadara Arnold released her debut album, Into the Unknown, on the Spring Hill Worship label in 2005. Her song, “The Name”, co-written with Joe Beck and Billy Sprague, was nominated by Worship Leader Magazine for “Best Scripture Song” the same year. September sees the talented Ms. Arnold releasing her independent, sophomore project: A Little Closer.
Ms. Arnold’s vocal quality brings to mind Diana Krall and Ann Wilson (Heart) during their more pop/tranquil moments, but there is an overall resonance with songstress k.d. Lang’s style. Her voice and delivery is quiet and sensitive, conveying a delicate strength. Anadara’s compositions tend toward being relationally-oriented, with several having an obvious inclination to the vertical, but avoid relying on excessive sentimentality. The overall tone of the album is balanced between a mature, reverent introspectiveness and an innocent, child-like joy.
The music of A Little Closer is mature, contemporary pop. Guitar and piano, with the restrained use of keyboard, strings and drums, create a blithe and spacious soundscape. If you enjoy the faintly urban pop/jazz-flavored works of artists Michael McDonald, Christopher Cross, and Shelby Lynne, as well as the reflective and quietude endeavors of artists Margaret Becker, Natalie Grant, Jadon Lavik and Aaron Shust then, by all means, give a listen to A Little Closer.
New VSR artist Kelly Mack’s national debut, Take Me With You, is a project characterized by thoughtful songwriting enhanced by a wide-eyed vulnerability coupled with intimate, personal experience, and delivered in (pop) music that is refreshing, yet conventional. Her disarmingly child-like vocals, reminiscent of Sixpence None the Richer’s Leigh Nash, and the unembellished, unpretentious delivery serves to further distinguish and reinforce the delightful sound of this project.
Ms. Mack’s ability as a songwriter shows not only facility with the craft, but a level of maturity many established artists struggle for. Citing the influences of Waterdeep and 100 Portraits, the transparent and vulnerable psalmistry found on Take Me With You should come as no surprise to those familiar with those bands. Each song serves to convey some aspect of the loving, encouraging nature of God. Ms. Mack describes her songs: “The themes of most of these songs come directly from the Psalms. They are my interpretations and thoughts of the promises and character of God.”
From beginning to end, Ms. Mack has crafted a beautiful collection of songs that are heartfelt and noteworthy expressions of true spirituality- modern psalms, if you will. If you enjoy the softer and more reflective side of artists Addison Road, Dido, Leigh Nash, Miss Angie, Jewel, Colbie Caillat and Nicole Nordeman, then find out what the buzz is about by checking into Kelly Mack’s Take Me With You.
If you were to combine the creativity, talents and styles of labelmates Anberlin, Falling Up & Kutless you’d come pretty close to describing Tooth and Nail’s latest act, The Fold. These being three of my favorite modern rock bands, you can guess I was anticipating listening to this disc.
The first song seemed to confirm my anticipation. “Gravity” starts This Too Shall Pass with a catchy, guitar-filled anthem. If you sense a “but” coming though, you’re right. About four songs into the disc, the flow of the album begins to wander. While a certain amount of tension between music and lyrics can enhance the mood of a given song, there’s too much dissonance between music and message for my taste. This lack of a cohesive style detracts from the album’s strong songwriting.
Daniel Castady’s lyrics are layered with double-entendre. His use of clever phrasing creates a fine line- being vague enough to leave meaning open to the listener’s interpretation but overt enough to convey deeper, spiritual dimensions. The focus on letting go/sacrifice, change and longing keeps the album thematically centered on relationships- both horizontal and vertical ones.
The Fold has all the necessary elements that a successful band needs: passion, talent and creativity. The band needs to smooth out their musical style so that it creates a synthesis with the lyrical theme. I have a suspicion that with a different, more tightly focused producer this album would have been even stronger. Is This Too Shall Pass worth checking out? Yeah. But there’s room for this band to grow.
The Turning’s national debut Learning to Lose is the second release from RKT Music- Rocketown Records’ modern rock imprint. But don’t confuse them with labelmates Hyper Static Union. Whereas the guys from HSU are funk-fortified, the guys from The Turning are firmly grounded in the here and now of the modern rock scene. They are a “modern rock band” with a definite lyrical slant towards modern worship.
If you were to take Chris Tomlin’s talent for producing catchy songs, add a dash of Lincoln Brewster's lyrical creativity, stir in Rock ‘n Roll Worship Circus’ sonic edginess cut with the pop/rock flavoring of earlier David Crowder Band you’ll have a good idea of what to expect from The Turning. That’s pretty impressive company to be compared to when you’re just getting started. But it’s also where I see a quandary this album presents.
With so many great influences and a sound that closely emulates many of them, Learning to Lose is in danger of becoming “just another face in the crowd.” I agree with RKT founder Smitty that this album is full of “infectious songs.” The music is terrific. The lyrics are great. In fact, there are several songs like “Through All the Earth,” “For You” and “Heart Is Free” that have the potential to find their way into praise bands’ repertoires. Hopefully, given time and the freedom to experiment, The Turning will gain that “something” that will set them apart from their (numerous) peers.
The Turning possesses authentic zeal, undeniable talent and a high level of professionalism. They are sonically similar to Tree63, By The Tree, and all of the aforementioned bands. their debut is a solid and enjoyable listen. Give it a try- you’ve got nothing to lose… and you never know what you might gain.
Evidence suggests that Foolish Things’ 2006 national release Let’s Not Forget The Story flew under many people’s “radar.” There wasn’t a whole lot of buzz surrounding the summer release and the word seemed slow in spreading about this extremely talented and dedicated Denver-based band. Nevertheless, the “five guys following Jesus and making music” are back with their second independent release and third album.
The lyrics of Even Now are probing and candid; sometimes stark, but Isaac Jorgensen and Mark Labriola’s delivery (reminiscent of Downhere’s dual vocalists Marc Martel and Jason Germain) and the tone of the music keep the songs from becoming somber and hopeless. The songs are declarations of devotion; the frail human juxtaposed with the eternal uncompromising, yet never come across as blindly optimistic or clichéd. Fidelity, hope and encouragement to persevere are the band’s writ to those who will listen.
Foolish Things' musical formula does not deviate from their previous efforts of radio-friendly, hook-filled modern pop/rock. It’s apparent producer Tommy Collier nudged the five band members enough they appropriated surrounding musical territory without abandoning what defined their previous effort. The music is spacious and expressive, making use of various sonic textures to augment the predominantly guitar and percussion-driven sound while allowing the vocalists’ delivery to stand out.
Even Now is an exuberant, passionate and quirky musical avowal- a superb addition to their repertoire of God-centered, melodic, modern rock. If you’re into the vertically relational-oriented modern rock of Jason Morant, Robbie Seay Band, Fee, Starfield, Sonicflood, and Ruth, then Even Now (and Let’s Not Forget The Story) are highly recommended by this reviewer. Since the band and Inpop Records have parted ways, (and the band has agreed to move on to other endeavors) this release falls into the category of independent and probably won’t see widespread distribution. You’ll have to surf over to Foolish Things’ website, their myspace page, or itunes and order/download this fantastic album.
You could liken musical parody to dancing in a straight-jacket, and Christian musical parody would be like dancing on a high-wire in the aforementioned restraint. It is a somewhat paradoxical ability in that imitation is the means through which creativity is expressed. Apologetix, “that Christian parody band” has been practicing their unique form of satire for over a decade (and 12+ albums) and their latest release, Future Tense, shows their continuing expertise as practitioners of the art form.
It goes without saying that the better executed the parody is the more successful the satire. On this count, chief lyricist and front man J. Jackson delivers the goods: biblical truth and social commentary that can run the gamut from subtly witty to scathingly wry. The lyrics of Future Tense are both perceptive and cheeky without being offensive or flippant. Sometimes the pith is so subtle you may find yourself scratching your head. For instance, if you think the references to women in “Animals I Have Begun” are stereotypical, notice the (increasingly selfish) progression from verse to verse.
In spite of several recent changes in the band’s line-up, Apologetix’s musical mimicry remains spot on. Their capacity to smoothly duplicate styles as disparate as 60’s era Beatles (“Try Micah”), 80’s era The Cars (“Bethlehem Boy”), and the contemporary sounds of bands as varied as AFI (“Animals I Have Begun”), Gym Class Heroes (“Stupid’s Chokehold / Reckless in America”) and The Fray (“The Tablecloth”) is remarkable- and continues to grow more impressive with each new album. It’s apparent that the members of Apologetix don’t shy away from the challenge of adapting their message to the diverse styles of modern pop music.
The same can be said for J. Jackson’s skill at emulating diverse vocalists. His wide register and vocal talent is uncanny; allowing him to convincingly pull off everything from the airy tenor of Boston's Brad Delp, to the barbed-wire growl of Disturbed's David Draiman; the breathy rush of Fall Out Boy’s Patrick Stump to the melancholy falsetto of Hinder’s Austin Winkler.
Future Tense is for those who take guilty pleasure in Top 40 and 80’s, 90’s, Now radio stations and/or Now That’s What I Call Music anthologies. Make no mistake, the songs of Apologetix are funny and smart, but you may find yourself provoked to consideration and thought. ; )
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