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...
Arizona-based up-and-comer Vertical Shift Records (VSR) have recently partnered with distribution powerhouse EMI to get their roster of artists distributed to a broader, musically rapacious audience. And while the marketing push of VSR has been behind bands Ever Stays Red and Re:Zound; the third band in their stable of artists have quietly and without a lot of fanfare, put together an impressive debut. With Mosaic Soul, soon to be re-titled and released nationally as What I Can’t See, Out of Ruin delivers an attention-grabbing entry into the modern rock / alternative musical scene.
Gram Messer’s strong, emotion-tinged vocals, evoke comparison to Coldplay’s Chris Martin and Maroon 5’s Adam Levine. Messer transitions between a smooth, practiced delivery (“Broken Pieces,” “Lifting Me,” etc.) to a raw rasp for the more musically aggressive cuts (“Stand for Something,” & “Man to Be”). When the album’s tempo slows (“What I Can’t See,” “Spirit,” etc.) he shifts to a subdued, almost elegiac tone.
Musically, the band draws from and adeptly combines a broad range of influences. Injecting hints of 70’s pop/rock & psychedelia, a dash of the 90’s Northwest Pacific sound and grounding it in contemporary acoustic guitar–piano driven pop/ rock sensibilities, allows Out of Ruin to enliven, without overpowering, their distinctive sound. There’s even a fun instrumental piece (“Alimente El Corazón”) towards the end of the album that is a rockin’ fusion of Otmar Lieber’s neo-flamenco style and Satch’s modern guitar wizardry.
There is quite a bit of talent in this band. All eleven cuts of What I Can’t See were co-written by the brothers Messer, with background vocalist and keyboardist Ken Mary contributing to five, adding to the cohesiveness of this project. Poetic verse, affecting vocals, outstanding musicianship and strong arrangements help deliver a well-crafted modern rock montage.
What I Can’t See / Mosaic Soul is a fantastic debut – a talented group of guys who’ve created terrific music. Out of Ruin will appeal to fans of modern rock bands Future of Forestry, Lost Ocean, Mae, Sevenglory, Inkwells, Waking Ashland and Between the Trees.
After an apparent five year hiatus, Ten Shekel Shirt has released their third collection of modern pop/rock- Jubilee; an apt title perfectly describing the disc’s over-arching theme. As established by God, Jubilee was the Jewish celebration of institutional forgiveness to be observed every fifty years. When (and if) it occurred, the celebration was meant to remedy social inequality by freeing people (and land), effectively eliminating economic and social servitude. TSS’s founder and front-man, Lamont Hiebert passionately embraces the concept and has dedicated himself to the cause of modern-day abolition with a fervor that shines through the songs of Jubilee (the album).
The lyrics of Jubilee abound with grace, forgiveness and redemption. Each song affirms Divine Providence, while unflinchingly looking at depravation and challenging the listener to rise above the world’s foibles. A sense of world-weariness underlies Hiebert’s delivery on many of the songs, but instead of bringing down the emotional tone, it serves as an intelligent counter-balance; appropriate, considering the challenging subject matter addressed in many of the songs.
Ten Shekel Shirt’s music is stylistically akin to their previous projects (Much & Risk), yet avoids sounding dated. The band’s ability to create music that moves between sparse simplicity and fully textured, layered compositions is striking. Musically, TSS shares sonic DNA with bands like Arcade Fire, Coldplay, Death Cab for Cutie, The Fray, etc.; where a delicate balance is struck between the music, lyrics and vocal delivery, allowing each element to reinforce and subtly compliment the overall composition.
From start to finish, the songs of Jubilee are affirmations of exoneration, celebrations of emancipation, and reminders of God’s incomparable mercy. If you appreciate subtle music intertwined with forthright lyrics (Caedmon’s Call, Downhere, Jars of Clay, Leeland, and Starfield), check out Ten Shekel Shirt’s latest. Take a moment to visit the band’s website, and investigate how you can become involved in TSS’s mission of freedom and hope.
Ivoryline, another addition to Tooth & Nail’s growing roster of modern rock, emo-influenced, post-punk bands, delivers a fine debut with There Came A Lion. The band‘s first full-length, nationally distributed disc falls squarely into what I call the “Tooth & Nail style” and bears more than a close resemblance to the sound of label mates Anberlin. Upon close inspection of the liner notes, credits and “thanks” this came as no surprise since über-producer Aaron Sprinkle is known to leave a very conspicuous stamp on projects he produces.
Three songs from the band’s EP The Life You Have experience a Sprinkle produced makeover and appear on There Came a Lion: The high-energy “Day’s End,” the anthemic “Parade” and the brisk anthem “Bravery.” The discs other 8 songs are equally energetic. (Noticing a pattern here?)
The band does a fantastic job of creating engaging lyrics that move between introspective and accusatory, as well as making appealing rock music. Jeremy Gray's vocals are superb but lack a distinguishing texture that mark them distinct from other similarly voiced frontmen. It is this similitude, along with Sprinkle’s production and Ivoryline’s proximal Anberlin sound that may hinder them; which would be unfortunate. Without investigation, listeners may mistake the band’s worthwhile effort for unknown or new music from Mr. Christian & Co.
Ivoryline is a band that you should find appealing if you’re into the music of Kids in the Way, This Beautiful Republic, Search The City, Wavorly, and of course, the aforementioned Anberlin.
Chances are you've sang the songs of worship leader and song-writer Brenton Brown. While his name might not be as tip-of-the-tongue familiar as Matt Redman, Chris Tomlin, David Crowder, etc., his compositions are nearly as ubiquitous. Songs such as “Everlasting God,” “Hallelujah (Your Love Is Amazing),” “Lord Reign in Me,” “Humble King,” and “Because of Your Love” have become contemporary worship staples and were all written or co-written by the aforementioned Mr. Brown.
Prior to coming to the U.S., the South African native led worship at several venues, was involved with the Vineyard Music Movement in the United Kingdom and toured the world extensively. He has written or co-wrote numerous familiar worship songs with contemporaries Paul Baloche and Brian Doerksen; as well as having peers such as Chris Tomlin and Lincoln Brewster record his songs for their worship projects. Five of his songs are included in worship licensing and administration organization CCLI’s Top 100. His first solo project, Everlasting God, was released in 2006 and quickly brought his name to the attention of a wider audience.
Because of Your Love is a distinctly different entity from Brown’s debut, affecting a more intimate and unvarnished feeling. Whereas many worship projects seem to be assembled as superlatives of the songs they include, Because of Your Love is more a suite of songs that epitomize and represent the quintessence of compositions and worship. Each song acts as an unguarded glimpse into Brown and his collaborators’ inner-being- sincere expressions of unfettered creativity.
The songs of Because of Your Love are not only lyrically honest and sincere, but musically effortless, genuine and stylistically varied: Brown and his collaborators aren't afraid to reach into the dusty boxes of yore and make use of arrangements and instruments that are more traditionally associated with folk, bluegrass and gospel. The use of these less modern, more traditional instruments adds contrast, creating a bridge between their modernity and heritage.
If you are a fan of Watermark, Chris Tomlin, David Crowder Band and Matt Redman, pick up Because of Your Love to experience Brenton Brown and Co.’s worship experience ably captured on media.
One of the telling signs of a “successful” band is there ability to adapt, change and grow. Sometimes this growth or change is subtle and gradual. Other times change seems to come unexpectedly from left-field. Such was the case with Telecast’s second album, Eternity Is Now. The band creatively swerved into very folksy, almost alt-country territory, eschewing the modern pop/rock worship sound of their debut. The band’s stylistic change caught many fans by surprise, including this reviewer.
With their third outing, Quiet Revolution, the band (wisely, subtley and successfully) integrates their more creative, “rural” impulses with the sound from their debut that wowed fans and critics. The music is organic and nuanced yet shrewdly steeped in modern pop/rock. Josh White and the band continue to create a union of erudite and affective worship lyrics and finely-crafted music.
Continuing with the album’s Civil War motif, President Abraham Lincoln declared, “Sir, my concern is not whether God is on our side; my greatest concern is to be on God's side, for God is always right.” Telecast’s lyrics, music and motivating passion (read the liner notes) not only encourages listeners to be on God’s side, but to be a part of His transformative works- beholden to a lifestyle that acts in substantive, tangible ways… following the example of that quiet revolutionary, Jesus.
Chasen, Fee, NeedtoBreathe, PFR, Robbie Seay Band, Rush of Fools and Ruth enthusiasts will find something to like on this disc.
No Matter How You Look At It | Posted August-01-2008
Talented Buckeye-State Band This Beautiful Republic is preparing to drop their much-anticipated follow-up, Perceptions, mid-August. The band’s sophomore effort validates the positive attention the band received and the acclaim garnered by their 2007 debut. Following the pattern established by Even Heroes Need A Parachute, TBR has created a worthy sequel of songs, coupling lyrics of substance to driving modern rock.
Perceptions’ songs intersect many points of the emotional spectrum. “Surrender Saved My Life,” “No Turning Back,” “My God,” and “Last Second Chance” surge into raucously raw territory while “Pain,” “Change The World,” and “Say Goodnight” allay into a passionate, yet sincere gravitas. Each track is expressively grounded by Ben Olin’s powerful vocals and expansive delivery; layered with the appropriate emotional texture without losing sight of an indisputably hopeful outlook.
The music of Perceptions is an aggressive mixture of guitar-dominated rock which buffets the listener with intensely hammering rhythms; and skillfully polished, graduated vignettes of a more modern milieu. The band’s tightly superb musicianship makes for a bracing listening experience. Perceptions fully showcases This Beautiful Republic’s innate talent and unmistakable growth as confident, mature songwriters and musicians.
Much like Even Heroes Need A Parachute, Perceptions avoids vagueness and inconsequentiality, opting for eyes-wide-open authenticity… at least that’s the way this reviewer sees it. Fans who recognize Anberlin, Ever Stays Red, Falling Up, Filter, Seventh Day Slumber and 12 Stones as favorites should look into grabbing this album as soon as it hits shelves.
Dance, Trance, Drum & Bass, Ambient, Techno, Acid- all flavors of the genre of Electronica. With the exception of breakthrough exposure of a particular piece of music by an artist like Moby or Andy Hunter, very little attention is paid to the genre by mainstream, American audiences despite its pervasive influence on Hip Hop and Top 40 music. If you were to ask the average music listener to name more than one well known Electronica artist, chances are you’d get plenty of blank stares, but if you’d play Hunter’s “Go” (which was ubiquitous several years ago) for that same music listener, they would instantly recognize it.
If you were to poll the average church-going youth group about Christian DJs or Electronica acts, you’d hear KJ-52 mentioned. If you were really lucky, lived in a major urban area, or had a youth leader who knew about the breadth of musical genres populated by Christians, the names Echoing Green, L.A. Symphony and maybe the aforementioned Andy Hunter might come up. It’s a shame really because there are quite a few talented artists out there producing entertaining & sophisticated compositions that are on par with their European counterparts.
One such artist goes by the handle Argyle St. Like many Electronica artists, Argyle St. is the nom de guerre and endeavor of a single person- Shawn Z. The creative impetus draws his song-writing and vocal influence from late 80’s/early 90s Depeche Mode, Morrissey and The Cure’s Robert Smith. His pliable delivery sways between the boundaries of breathily ethereal and clarion reedy. The lyrics of Departures range the gamut from the spiritual observations of “ABC,” the indicting social commentary of “Inadequate,” to the tongue-in-cheek, cautionary tale of “Anti-perspirant”.
Musically, Argyle St. leans toward a pretty muted palette, sampling from the style of artists like Erasure, Howard Jones and producer Joey Belville’s The Echoing Green. That’s not to say the music isn’t fully developed. On the contrary, the music of Departures ranges from the gently textured and subtly layered title track, "One" and "I Saw You First"- influenced more by the ambient and trance schools of composition; to the disc’s other tracks which are more obviously, but restrainedly, drawn from the techno and house disciplines.
“Departures“ delivers a polished and creative debut that is full of enjoyable, stylish, introspective music. If you’re always n the look out for new Electronica, head on over to Argyle St.’s website and support this talented artist.
Ever catch yourself looking up into the star spangled night sky and feel the enormity and beauty of the cosmos crash in on you? The Glorious Unseen's Tooth & Nail debut, Tonight the Stars Speak, is a selection of those transcendent moments committed to music.
The band shies away from the temptation to merely update "worship" with a sound that echoes contemporary pop/rock and instead chooses to capture, in substantive music, expressively poignant, sincere worship. Ben Crist and company bare their souls to God and, by proxy, invite the listener to join their heart-cry to God.
Crist's heart-wrenchingly delivered, husky rasp is a baritone suggestion of DMB's Dave Matthews and Coldplay's Chris Martin. His vocals perfectly compliment the album's laconic, honestly raw lyrics and intense musical quietude.
President Calvin Coolidge observed, "We do not need more intellectual power, we need more spiritual power. We do not need more of the things that are seen, we need more of the things that are unseen." There's more than a subtle hint that this line of thinking permeates the efforts of The Glorious Unseen on Tonight the Stars Speak: It is yearningly passionate, true worship- reflective, affecting and intensely personal songs.
Devotees of Chasen, Downhere, Shane & Shane, Starfield and Watermark would do themselves a great service by getting this disc!
Shine Through The Stars, the latest release from indie label OMG band Chasen, is sure to put Greenville, South Carolina on the musical map. Chasen's contagious blend of folk/pop rock is the perfect synthesis of Jars of Clay and Caedmon's Call, with just a touch of the southern styling of Tom Petty and the Heartbreakers.
With namesake Chasen Callahan handling lead vocals and acoustic guitar, Evan Silver on electric guitar, and Aaron Lord on drums, this trio produces some of the most enticing folk-flavored pop rock in recent memory. Rhythmic reinforcement is ably provided by bass, piano, B3 synth, banjo, fiddle and percussion studio musicians. Their buoyant sound is further enhanced by live strings provided by the inclusion of viola, violin and cello courtesy of the renowned Nashville String Machine.
It is obvious that the three friends that make up Chasen love to create music together; their tunes are infused with an upbeat lightheartedness yet still communicate something profound. Fans of modern rock/worship bands Starfield, Ruth, Foolish Things, Robbie Seay Band, Big Daddy Weave and Telecast will find something to brighten the gloom of recycled pop music with Chasen's Shine Through The Stars.
Tip of your tongue familiar, yet distinctive. That was my first though upon hearing Agents of Change, the national debut of Pittsburgh trio the Aaron Greer Band. Imagine if you were take the songwriting sensibilities of Mercy Me and Shawn McDonald, combine it with the sound of Dashboard Confessional flavored with the instrumental eclecticism of Mae and put Michael Sweet's soaring intonation, assuaged by Chris Tomlin's warm expressiveness, behind the mic and you'd have something of an idea of what this band offers.
Aaron Greer Band's musical milieu falls squarely within the genre defined by modern worship bands like the David Crowder Band, Delirious?, etc. Their music is paradoxical in that it is an arena-filling sound yet invites the listener to partake in intimate worship. The band successfully juxtaposes soulful lyrics that convey the heart of their Mission transparently with up-beat, inventive music that uplifts the listener without pandering to stale pop sensibilities.
Some stand out track, you ask? There's the toe-tapping beat of the disc's opener: "May Your Glory Move," the hypnotically rhythmic "Air," the energetic and declarative anthem "I Will Follow," and the simple and wistful "One Man."
The three guys, two with guitars and one with a drum kit, on a singular Mission create songs that leave an indelible imprint on the musical landscape. Fans of bands as diverse as Fallout Boy, Ruth, Fee, Robbie Seay Band, Casting Crowns, Re:Zound, and Foolish Things will find something to whet their musical palate with Aaron Greer Band's Agents of Change.
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