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...
A New Page | Posted April-18-2015
Future of Forestry, the atmospheric indie rock brainchild of Californian Eric Owyoung, has established a trademark built on all things exploratory and ethereal. From initial efforts Twilight and Young Man Follow to his reverent Advent series of Christmas EPs, Owyoung's signature sonic landscape has often been distinctly otherworldly, especially in recent years
This makes some of the musical direction on latest effort Pages a surprise. Although the haunting instrumentation and restrained approach to melody is still often present here (see youthful-sounding "Hold My Hand" or poetic, introspective "Learn To Love"), there is a sense of musical grounding that is unique to this project-- especially as it doesn't come from raw guitars as it did in the past. In fact, percussion and electric guitar elements are mostly absent or greatly understated here as Owyoung opts for a more organic sound.
Much of this sense of being more rooted, more earthy, comes from the folk influences that shape many of the tracks. "How to Fly" is sung as a straight folk ballad, with lyrics aiming at storytelling rather than concepts. "By the Water" has a similar influence in its innocent lyrics. Beautifully written "Trust" seems to channel Bob Dylan or Johnny Cash vibes, particularly in the confessional verse "A page torn from the past / Can trade like dirty cash / A song and a guitar / Can all be caught as liars."
The vocal approach here relies heavily on a back-and-forth between Eric Owyoung and guest female vocalist Alina Kamilchu, who features heavily on most of the tracks. Given that thematically much of the content of this album features on the concept of a classic love song, the interplay between the vocalists is fitting and lends a rich texture to the project's sound.
As has always been the case with Future of Forestry's releases, the writing is one of the strongest elements of the project. Even while using a more concrete, narrative approach to the lyrics, there are very few lines that could not stand on their own as instantly memorable images. "Seasons" is a strong example of this, drawing on the imagery of changing seasons to denote change and the passage of time. "Fireflies" boasts some strong lyrics also, gently telling a story in the words "Summer was a desert sunset's crimson fade / It was dry and heavy. / Beauty was the smell of distant rain, our spirits lifted high."
Closing Thoughts:
Future of Forestry has yet again produced a beautiful, mellow indie rock experience. The use of subtle folk influences show a new side of Owyoung's writing and also his voice, and both here are on point. Listeners looking for something engaging and intense will likely find it hard to connect with Pages, as it is much more focused on building an atmosphere, creating calm to the point of at times feeling like a lullaby. But if you're looking for a strong indie-style project to quietly soundtrack your own musings, Pages is perfect.
Soaring Songwriting | Posted April-09-2015
Singer songwriter Dan Bremnes has come a long way, both literally and figuratively, from Canada to Nashville for his debut EP with Capitol Records. The artist started out playing drums in church at just 10 years old in his hometown in British Columbia. Years of experimenting, learning, focusing on God's calling on his life and enduring some heartbreak along the way has shaped Dan's songs into a deep maturity that belies his Nashville newcomer status.
The strongest point of this album is the tight, powerful songwriting, a highlight which shines immediately on title track "Where the Light Is." This autobiographical song takes the listener through the artist's childhood and later tragedies he encountered, in all of it applying the poignant plea to God "God be with me, don't know where I'm going / will You lead me where the light is?" Closing track "Even If" also showcases the incredible writing on this project, declaring devotion and dedication to God no matter the circumstances with phrases like "Even if I sink to the depths of the ocean will I cling to You / Even if I'm stranded in middle of a desert will I follow You."
A sonic strong point on Where The Light Is lies in the melody structures and in the way Dan's powerful voice carries them. The melodies are reminiscent of powerhouse group for KING & COUNTRY, soaring through an impressive range and managing to strike that much sought-after balance between catchy and unique. Upbeat "Heart on Fire" shows this off, backed by an instrumental arrangement and corporate vocals that hints at folk influences. "Born Again" is presented in an acoustic format, and although the production is perhaps a little too heavy-handed for this selection, here the melody and Dan's voice also shine. This could easily be a sing-along moment at a concert, with an urgent joy in every word that makes it hard not to respond.
As far as instrumentation goes, there is a strong percussion presence that seems to pay tribute to Dan's humble beginnings. "Beautiful" is driven by a solid beat behind its soaring, worship-oriented lyrics, and the title track rides thunderous drum tones through the chorus.
Closing Thoughts:
With the Where The Light Is EP, Dan Bremnes proves his ability to craft melodies and lyrics that are as musically strong as they are spiritually and emotionally engaging. His songwriting is incredibly purposeful, offering more vivid, poetic language than most AC acts while keeping each song accessible. There are a few misses in terms of production or moments where a track treads ground already recently covered (such as on "He Knows" which, although an extremely solid track in its own right, is thematically nearly identical to recent hit Jeremy Camp song of the same name). However, the misses are far outweighed by the homeruns. This EP would be solid even for an artist much more established, so coming from a new artist it's even more impressive. Dan's is a new voice that should absolutely not be ignored.
Timeless Anthems | Posted March-12-2015 A.D. The Bible Continues is the continuation of the wildly successful Bible miniseries. This new series focuses on the growth of the early church in the wake of Jesus's reality-shifting ministry. In partnership with the series, Integrity is releasing Worship Anthems Inspired by A.D., a compilation of powerful worship anthems intended to correspond to the themes of the series.
With names like Natalie Grant, Newsboys, Darlene Zschech and All Sons & Daughters, the talent behind this project is clearly strong. Newsboys' most recent smash hit anthem "We Believe" kicks the collection off with simple, timeless statements that have defined the core of the church. "Your Great Name" by Natalie Grant and "Overcome" by Jeremy Camp are other strong offerings most listeners will be instantly familiar with.
The project hosts some gentle stylistic diversity, with Jesus Culture mainstay Kim Walker-Smith offering "Spirit Break Out," Rend Collective sharing "Build Your Kingdom Here" and All Sons & Daughters lending their indie sound on "Buried in the Grave." Worship newcomers The Brilliance contribute their highly liturgical voice on "Breathe."
Some guest appearances on tracks lend to the strong showing, with Danny Gokey's powerful voice making an appearance on Paul Wilbur's "Great I Am" and Kathryn Scott singing with Paul Baloche on "Your Name." From beginning to end, every track is relentlessly dedicated to focusing in on the worthiness of God, the wonder of His gift in Jesus Christ and our appropriate response: unhindered adoration.
Closing Thoughts:
The artistry on this album is undeniable, with some of the most beloved and respected worship singers and songwriters making an appearance. The tracklist is noticeably well-curated too, with the songs offering just enough diversity while still feeling unified within the array of artists. A good blend of new and seasoned artists is present as well.
Although all of the songs are extremely strong in and of themselves, the only flaw is in the fact that it seems less like songs tailored to fit the themes of the specific story of the early church and more like simply a very strong worship compilation of some of the past few years' biggest hits. However, the fact that all the songs focus on simple truths that shaped the first century church as much as they shape our current day church does certainly still make them relevant to the story AD is telling.
Creating Collaborative Environments of Praise | Posted February-23-2015
WorshipMob is a Colorado born collective of worship leaders who initially started to gather in meetings focused on granting those who are usually pouring into their congregations space to recharge and be refilled with the Spirit. What began as small gatherings didn't stay contained to one room for long. Soon the group began recording videos of what was happening in their community, the result of a truly collaborative approach unique to their collective.
The fact that these tracks are focused not on a few select artists or voices, but rather grow organically from a large group of musicians who are mostly anonymous, makes the overall sound of this album significantly different from most other recent worship releases. The project, which is a blend of originals and covers, feels a little less focused because of its collaborative nature, which at times might make it hard for the listener to find something to latch onto. But it also succeeds in synthesizing a certain atmosphere extremely conducive to personal soul-baring worship. This music creates an environment more than it claims a spotlight.
Opening track "Satisfy" creates this kind of environment with cooling piano beds behind the interwoven vocals of multiple vocalists as the soothing song calls to let go of burdens. "Love Outran Me" also has these calming undertones carried by simple instrumentation.
Some of the tracks, such as "Arrested by Grace," have a slightly broader sound musically, employing stronger percussion and heavily delayed electric guitar. Declarative "We Are Yours" also exhibits this bigger sound.
Lyrically, the songs touch on both reassurance and longing, creating an environment of soul solace within the truth of who God is while voicing the deep spirit-longing to know Him better still. Their version of "More and More of You" displays this longing well. "Arrested by Grace" builds from the beautiful concept "my fall was arrested by grace." "Downpour" cries for the drenching presence of Jesus and the stirring of the Spirit.
The group chose to cover a few recent extremely well known tracks: Bethel's "You Make Me Brave" and Hillsong's "Oceans." "You Make Me Brave" stays relatively true to the original, which succeeds musically although it does not necessarily lend much innovation to what Bethel had already created. Their variation on "Oceans" stands out a little more, as the group draws heavily on strings and a more raw, natural instrumentation arrangement. They also weave in a thread of the classic hymn "Nothing But the Blood."
Closing Thoughts:
The heavily collaborative approach to this album makes it unique listening experience that is truly conducive to allowing God to take center stage. Although there is not a lot that is flashy or innovative in the individual songs, together they create an environment that enables praise, an atmosphere of earnest worship. These are sheltering songs for the listener, much as the services were initially sheltering for the dry-hearted worship leaders who founded them.
Graceful Tunes from a Musical Wanderer | Posted January-31-2015
Aaron Gillespie is one of the most well-traveled artists in the contemporary music world when it comes to genre hopping. Honing his skills as just a teenager behind the drumkit of legendary, definitive post-hardcore act Underoath, Aaron would later branch out to start his own gritty rock group The Almost, diverging yet again in 2011 to release solo worship material. These days his day job involves touring the world behind the drums for pop rock icon Paramore while in his spare time he pens new tracks for The Almost and his solo worship venture.
It would be easy for an artist who has not just seen but thrived in so many diverse settings to lose his ability to focus in on the musical task at hand. But with Aaron Gillespie's latest solo worship effort Grace Through The Wandering (written and recorded largely while on the road with Paramore), it's clear that his vision has never been sharper.
From energetic opening track "Wake Us Up," it's clear that his approach to worship tunes has shifted a little in the four years since 2011's Anthem Song. The sound is simultaneously more electronic and more chilled out indie-leaning-- a shift that echoes the similar directions taken by major worship music players Hillsong and Bethel Music in recent years. "A Love Like Yours" has a slightly playful edge in its clapped percussion, and the joy-filled lyrics of "Praise Him" are buoyed up by solid electronic undertones.
This is not to say, however, that there aren't elements here that are unique and distinctly Gillespie's own. The gently affirming "All He Says I Am" carries a clear acoustic guitar presence alongside the raw lyric style that fans have come to love from the oft-confessional songwriter. Similarly, "Keep Me In" utilizes a tone of slightly melancholy yearning: "Rope up my feet with Your truth that I can rely on / Nail down my doubt to the boards that You bled out hope on… / keep me in this place of worship."
Musically, two of the most intriguing offerings are "Hold Me Close" and Aaron's take on "Come Thou Fount." The vocals on electronic-styled "Hold Me Close" are breathed in a way that makes them almost part of the percussion, driving the song through lyrics directed from an anxious heart to the Comforter. "Come Thou Fount" takes the rather gutsy risk of lending a new tune to an old favorite hymn. The haunting new melody succeeds largely through restraint, with Aaron's voice backed by minimalistic, folk-influenced instrumentation. The veteran artist exhibits wisdom in avoiding overplaying his creative hand.
Closing Thoughts:
Musically, this is a solid worship effort that could hold its own with other worship heavyweights, with some intriguing sonic diversions that also give it hints of innovation. However, it's the lyrics that truly set this project apart from others in its genre. One of the areas in which Aaron Gillespie excels is maintaining the same personality, the same message and the same goals, whether it be on a massive mainstream pop rock tour or in quiet moments of worship. The blend of brutal self-examination, desperate dependence on grace and abandon for the message of Christ and His Kingdom that has made for some wonderful rock and roll translates beautifully into these worship tunes. Although musically this project is grounded, lyrically it soars.
From Furious Darkness to Beautiful Light | Posted January-16-2015
Since the release of End of Silence in 2006, Red has been on a seemingly unstoppable trajectory towards success, leaving an indelible mark on the hard rock scene in the process. Garnering significant attention from both mainstream and faith-based markets, the band has consistently displayed the work ethic and integrity needed to ride their own momentum gracefully.
After their first three albums honed and refined their symphonic rock sensibilities under the production guidance of Rob Graves, 2013's Release the Panic saw a departure for the band as they worked with Howard Benson to create an album more focused on mainstream melodic rock conventions, setting aside the heavy string presence found on past releases. Although the album was a powerhouse work of art in its own right, many fans feared that the band's foundation was shifting.
This year sees the release of an album that should assuage fans' apprehension. Returning to work with producer Rob Graves, the core members of Red (Michael Barnes on vocals and twins Anthony and Randy Armstrong on guitar and bass, respectively) seem to have found the sweet spot between their symphonic rock past and the melodic rock skills sharpened on the last record. The result is Of Beauty and Rage, an intense, brooding musical masterpiece sure to please longtime Red listeners and any heavy music lover longing for a listening experiece that delivers.
Red has always released projects that are highly conceptual in nature. Of Beauty and Rage is no exception, with the tracks carefully ordered to craft a story of diving into the darkest corners of the soul in order to find the light of redemption. The narrative is shaped by three eerie, almost otherworldly instrumental tracks: "Descent," "The Forest" and "Ascent." "Descent" marks the immersion of the soul into the shadows where it is forced to face itself, "The Forest" comes in the middle of the wandering and "Ascent" paints a musical picture of hope at the conclusion.
The songs that happen in the interim are snapshots of struggle and finding strength. The first half of the album contains the darker themes, beginning with the unsettling, throbbing "Imposter." The heaviness continues as screamed vocals claw their way out from behind heavy, low-tuned guitar riffs on "Shadow and Soul." The outro on this track sees Mike Barnes utilizing a chilling falsetto.
"Darkest Part" is an instant album highlight and possibly one of the strongest songs of Red's career. This is Red at their best with the marriage of a high, shrill strings section and Anthony Armstrong's gritty guitar bed working in unison to build tension behind the soaring melody. The song talks of desertion and betrayal, keening "you looked inside, then you turned away / My makeshift savior, you left me right here in my chains."
Another memorable moment is the album's ballad. Red's history with strings has allowed them to have some of the most ethereal and poignant ballads of their genre, as exhibited in past tracks like "Pieces," "Take it All Away" and "Hymn for the Missing." New offering "Of These Chains" follows a similar sonic blueprint, also serving as a kind of lament. The song explores the peculiar fear and sadness that often accompanies leaving behind chains that, while damaging, were at least familiar. Gentle strings and cool piano underscores the reflective lyrics: "Afraid to open up the door to who I was before / And if I let go of these chains now, will I float away? / Can I just hold on?"
The album's turn becomes evident halfway through on "Yours Again," a song hesitantly exploring the possibility of returning to the light after a long voyage through the night. "What You Keep Alive" has an unnatural, almost frightening sound to the melody and the lyrics, showing the persistence of the darkness in trying to lay claim to our lives.
"Take Me Over" and "The Ever" both are declarations of the way redemption is found not just in spite of the darkest situations, but in the midst of them. "Take Me Over," possibly the most radio-friendly offering on the album, has an almost worshipful tone as it invites the Savior to enter and renew the singer's heart. Similarly, visually rich melodic masterpiece "The Ever" declares "But You saw more, You saw my deepest part / With the light of a thousand stars, You saw them awaken me… / You woke me up inside, brought back to life / I lost myself, but now I breathe again."
Closing Thoughts:
This is an album that is in every way what Red fans have hoped for from the band. Showcasing Red's signature brutal guitar riffs, darkly shimmering string section and introspective, high-concept lyrics alongside a mastery of melody achieved more recently, Of Beauty and Rage is a triumph in Red's breathtaking discography. Although it does return to elements of past efforts (even thematically, as the duality of themes is at times reminiscent of Innocence and Instinct), this new album sees the band breathing just enough innovation and maturity into their sound to keep it fresh.
As one of the early heavyweight releases of the year, Red is certainly setting the bar high for rock and roll in 2015. This is a standard they set with excellence musically, but also lyrically. With Of Beauty and Rage, Red strikes the near-impossible balance of admitting to the darkness in all its fury while also making it clear that the shadows in our souls can never diminish the beautiful light of our Redeemer-- in fact, our darkness can be simply a road to find Him. As a crossover band, there is a certain level of pressure on Red to provide the redemption narrative of a soul colliding with Christ in a way that is honest and vulnerable, free from arrogance or cliche, leaving room for hope to be delivered no matter the listener's belief. Their success in this area is deeply soul-stirring on a level that makes this album incredibly worth your time.
Unshakable Truths | Posted January-12-2015
Over the past several years, the worship songs emerging from Bethel Church in Redding, California have become some of the most well-loved and widely-sung songs of the worldwide Church. They are one of the loudest voices in the universal vertical conversation between Christ and His people, including such songwriting voices as Brian and Jenn Johnson, William Matthews, Jeremy Riddle, Amanda Cook and Steffany Frizzell-Gretzinger over the years. Their songs are part of the rhythm of life and growth for many of the charismatic, Spirit-focused churches worldwide.
Even as 2014's You Make Me Brave continues to make waves and impact worshippers, early 2015 sees the release of new album We Will Not Be Shaken (released alongside a special film of the same name). We Will Not Be Shaken follows the standard of chill, electronic-indie-fusion orientation that the group has largely followed since 2012's Loft Sessions. The title track exhibits this sound well while setting the tone for the album. "Jesus We Love You" and "Nearness" also follow steadily in that musical path, with mellow, calm melodies carrying the lyrics of praise. "You Don't Miss A Thing" is another moment of this style at its best, with atmospheric synth layered with chill keys and clear acoustic guitar.
Thematically, the album focuses in on the concept of being rooted in God's identity and in turn standing firm in our identity as His love teaches us who we are. "Seas of Crimson" strips back doctrinal complexities to allow the Gospel to stand on its own, praising Jesus for His redeeming sacrifice. "No Longer Slaves" proclaims our identity in light of that reality, earnestly laying down the words "I'm no longer a slave to fear, I am a child of God."
A definite album highlight is "Home," featuring an exquisite piano and guitar intro building into ethereal instrumentation as it tenderly sings a personal love song to Jesus. The bridge features the beautiful admission and personal challenge "It will never be enough just to know about You, Jesus, and never call you my own."
Closing Thoughts:
Bethel Church's music ministry has been extremely prolific recently, both in the releases under the Bethel Music name, but also in strong recent solo releases from Steffany Gretzinger and Hunter Thompson. All of this seems to have given the ministry an incredible amount of momentum. This new project continues strengthening the areas Bethel musicians have come to excell in: anointed lyrics that are both emotionally stirring and grounded in truth alongside musical atmospheres that quiet the soul while simultaneously clearing space for God to speak.
That said, We Will Not Be Shaken does leave the impression at times that the group does not have much new to say since the release of You Make Me Brave, in part perhaps because they were so close together. However, there is a timelessness in the truths the album contains that will serve to help root listeners in the unshakable reality of who God is and the identity we are gifted through the sacrifice of Jesus.
A Perfect Storm | Posted December-01-2014
Steve Taylor & The Perfect Foil could perhaps be best described as a perfect storm. Industry pioneer Steve Taylor and his uniquely quirky and satirical songwriting style returning to the fore of the industry after two decades in which new songs have been scarce would be a massive draw in and of itself. Add Peter Furler (of longtime Newsboys fame) on drums, Jimmy Abegg (of Rich Mullins' Ragamuffin Band) on guitar and John Mark Painter (previously heard on work by artists like Sixpence None the Richer and Jon Foreman), and the result is one of the strongest supergroups in CCM history, spanning three decades of experience in a variety of Christian rock's alternative arenas.
The result is Goliath, a mammoth debut project that both revisits the past and displays surprising musical relevance. Abegg's relatively unadulterated guitar tone, Painter's straight-forward, thudding bass and Furler's enthusiastic drumming are all instantly reminiscent of late 80s and early-to-mid 90s. These factors combined with the oft-harsh vocal style offered by Taylor create moments frequently reminiscent of the first decade of the Newsboys's discography. Opener "Only A Ride" exhibits this style immediately, and later biting cut "In Layers" also captures nostalgia in musical form.
It would be far from the truth to say, however, that this album is simply a wistful glance over the shoulder by industry has-beens. Although the musicians definitely bring the style that honed their musical skills back to the table, they do so with top-of-the-line production and careful inclusion of more contemporary electronic sounds. "Moonshot" has a funky bass groove layered against some subtle synthesizer work. "Standing in Line" strips it back for a more subdued, simple sound in terms of arrangement, allowing the lyrics to stand in poetic vulnerability: "The weather came / you were skating on fire / and love spilled out like antifreeze. / The ice floes melted in separate seas."
Indeed, throughout the album the songwriting is exactly what you would expect from this set of musicians. Taylor's signature sharp and often sarcastic observations about faith, art and humanity are voiced with characteristic cleverness. Although none of the songs venture into as inflammatory territory as his past efforts, closer "Comedian" seems to actually explore Taylor's own role within the Christian music community and where that is (or perhaps at times isn't) like Christ.
Another strong moment lyrically comes on "A Life Preserved," a re-recorded track previously heard on the Steve Taylor-directed Blue Like Jazz movie soundtrack. This is an album highlight which displays why the combination of Taylor and Furler's songwriting made the Newsboys's work in the 90s some of the most memorable songs in Christian music history. "A Life Preserved" is a kind of unconventional worship song, declaring earnestly "calling me out of the shallows of my world / called to something graceful and true / gratitude is too cheap a word / for all you've reassembled / from a spirit broken and unnerved."
Closing Thoughts:
It is likely that not all contemporary Christian music audiences will "get" Goliath, in part because it's an alt rock record (complete with don't-bow-to-the-man messages and a lack of auto tuning shortcuts) in a pop-driven world. But those who do connect to it are likely to find this to be one of the most refreshing releases Christian music has seen in years. From the quirky yet cutting lyrics to the perpetual momentum of the drum fills and bass line to the fact that Steve Taylor's vocals seem to only get better with maturity, Goliath is a project that promises to charm, unsettle and entertain. In short, part of what makes this album good is that it is exactly what you would hope for. Each member of this supergroup brings the best of their individual experiences back into relevance for a thoroughly enjoyable listen. This album will satisfy longtime Christian alternative rock supporters and pique the interest of a new generation longing for a little musical diversity.
Holiday Headbanging | Posted November-24-2014
Although Christmas music has become an integral part of the yearly cycle of the music industry as a whole, this is a trend that has largely left listeners of harder music in the cold. Due to the seasonal stereotypes of silent nights and caroling choirs, few attempts have been made to bridge the gap between those images and the world of metal and hardcore music. This year Solid State sets out to bridge the gap with a special Christmas compilation from some of the biggest names in heavy music.
I have long contended that, contrary to popular misconception, hard music is actually one of the most sophisticated, skill-requiring genres in the music world as we know it. This means that some of the classic Christmas tunes are able to shine in incredibly complex, intriguing arrangements that engage the original material on level rarely heard on contemporary covers. Both of Christmas hardcore veteran August Burns Red's offerings (their album Sleddin' Hill is one of the only other major efforts in this area) exemplify this reality, offering up a complex blizzard of riffage on "Flurries" while "Joy to the World" features a searing solo on the seasonal classic.
For Today's "O Come, O Come Emmanuel" features flawless, technical guitar work and Mattie Montgomery's brutal vocals. This is an oft-chosen selection for Christmas efforts in recent years, but For Today justifies the decision by adding extra verses that beautifully expand on the concept of a cry for rescue: "I hear the cry of a dying world, so let Your light bring the life we've been fighting for." Although changing it up, the band allows the haunting melody of the chorus to stand through perfectly placed clean vocals, creating what is easily the best track on this album.
Another album highlight displaying what happens when hardcore artists leave their personal stamp on well-known tunes is "Jingle Bell Rock" from freshman act The Ongoing Concept. Their raucous, rowdy energy explodes to the fore as they completely own the song with a sound blending hardcore and even hints of oldschool ska. The Ongoing Concept displays capability well beyond their years in their treatment of the melody.
Not every artist adapted the songs entirely to fit their sound; some went the other way, adapting their sound to mesh better with the original material. The results are playful and at times hauntingly beautiful. Fit For A King, usually one of the most brutal acts on any given stage, tones it way down for an eerie rendition of "God Rest Ye Merry Gentlemen," reserving blistering guitars and screams for the track's final minute. "Come Thou Long Expected Jesus" by Wolves At the Gate is heavier, but it is much brighter sonically than most of their work, focusing in heavily on the enthusiastic expectation of the lyrics.
Although most artists opted to adapt classics, a notable exception is Memphis May Fire. "He Came With Love" is a breathtaking presentation of how the incarnation connects to the gospel: "a baby wrapped in peasant rags, born to a virgin as a gift of grace / the one and only Son of God, the only promise that will never fade away." Although fans should expect a track that is better suited to frontman Matty Mullins's solo project than the band's discography, with that understanding in place this is an incredibly stirring, poignant original Christmas offering.
Closing Thoughts:
There are quite a few risks inherent in blending two musical fields that rarely meet, but the risk of Midnight Clear absolutely paid off. Rarely have I heard a compilation album so strong, showcasing the perfect balance of being diverse and yet somehow coherent as a whole, creative and yet grounded, with enough strong artists to truly carry the project from beginning to end. This project is an absolute must-have in its entirety for hardcore fans this season, or for anyone burned out on standard Christmas fare.
Song to Download Now:
"O Come, O Come Emmanuel" by For Today (get it on iTunes here.)
Copeland: Revisited | Posted November-21-2014
The indie pop rock stylings of Copeland were a staple in the libraries of alternative music fans a decade ago. Albums like Beneath Medicine Tree, In Motion and Dressed Up and In Line, although exhibiting a softer sound, were favorites in the post-emo rock arena. Frontman Aaron Marsh became even better known through collaborations with other bands from that scene, including mid-2000s heavyweights Underoath and Anberlin.
After fittingly joining forces with Tooth & Nail to release 2008's You Are My Sunshine, Copeland made the surprising announcement in late 2009 that they were affably parting ways. At the time, the statement the band released stated clearly that, although viewing future tours as out of the question, "we are not ruling out the possibility of recording one more album sometime in the future." And with November 2014, the time for that one more album has finally come.
Ixora (the title comes from a specific genus of tropical plants) is the result of a reunion of members Aaron Marsh, Bryan Laurenson, Stephen Laurenson and Jonathan Bucklew. From tender opening track "Have I Always Loved You" to bittersweet album closer "In Her Arms You Will Never Starve," it's apparent that this is the most laid back, sonically stripped down Copeland project yet. The album feels a little like being invited to sit in on a chill late night jam session with Copeland, tuning in to their introspective musical wanderings.
The album is very heavily piano driven, which has always been the case for Copeland (Aaron Marsh's use of the instrument pairs well with his quavering, mellow voice), but in this restrained musical context it shines even more than usual. Piano is employed simply yet effectively to create a sense of steadiness and repetition in "Ordinary," while the chords in "Disjointed" are as insistent as the currents that shape the lyrical flow.
A few tracks break from the status quo of drifting vocals and ethereal keys. "World Turn" utilizes the steady rush of rain in the background and melancholy acoustic guitar as it offers the haunting lyric "you felt the world turn its back on you" in Aaron Marsh's signature falsetto. This is one of the album's strong moments, despite a horn interlude that seems somewhat out of place.
"Chiromancer" is the only track with a notable bass line (the absence elsewhere is perhaps not surprising given that bass isn't the native instrument for any of the members who reunited here). The steady tension created by the bass underscores guest vocals from Steff Koeppen, whose voice perfectly complements the darker, brooding tone built here.
Thematically, although some of the songs deal simply with the ache of being human (something Copeland has always addressed well), another consistent theme is the concept of monogamy. Previously mentioned "Have I Always Loved You" and "Ordinary" both explore the rhythm of constancy and commitment, lending a particularly mature attitude to the album. The lyrics here are also beautifully poetic, such as the exquisite moment in "I Can Make You Feel Young Again" singing gently "a billion stars and here we are, the same bit of dirt holding our weight."
Closing Thoughts:
Although some longtime fans might miss the slight edge offered at times by subtle, raw electric guitar riffs in previous Copeland projects, the sound of Ixora seems well suited to these quieter days of the band's twilight. The more relaxed, restrained sound still exhibits some of the indie style elements fans came to love, including the signature moodiness, but it is tempered here by graceful restraint and a mature contentment previously heard less frequently in their lyrics. Beyond offering closure to old Copeland fans, this album has the potential to draw in new ones who may have missed out six years ago. Ixora should be high on the listening priority list for any indie rock enthusiast.
Song to Download Now:
"Have I Always Loved You" (Get it on iTunes here.)
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