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 Worthwhile Detour | Posted November-19-2014
Whatever your expectations were for the next move rapcore/reggae/rock and roll monolith P.O.D., chances are they didn't include a full-on acoustic album. The release of fan-funded SoCal Sessions proves the band's ability to keep people guessing, revisiting highlight moments from their impressive career in a more mellow format.
Some of the songs translate beautifully into what you'd expect from a traditional acoustic offering. Melancholy, searching P.O.D. classic "Will You" is one of these, with the melody and the introspective lyrics seemingly ready-made to be paired with slightly distorted, delayed acoustic guitar over the brooding bass. The chorus of "No Ordinary Love Song" is another soaring melodic moment that could easily pass for having been intended for this format.
Other offerings here might invite some measure of skepticism regarding whether the band can really pull them off, such as rapcore-styled classics "Youth of the Nation" and "Panic + Run." Fortunately, the band shows remarkable finesse in resculpting these songs to fit the acoustic form, adapting the melody where necessary but adding elements like a quavering harmonica presence that seems to maintain the ties to the band's bluesy reggae roots (a fusion exemplified on "Strength of My Life").
The song choices are a mix of successful singles and lesser known gems. The selection seems to be based primarily on what would be most interesting and workable in the acoustic format, which in this case is a wise approach given the sonic leap that had to occur for these renditions.
Closing Thoughts:
SoCal Sessions faces the challenge of taking songs written in an extremely different style and adapting them successfully without making them unrecognizable. There are a few misstep moments where it slips to playing it too safe to the original song where perhaps more experimentation could have served the arrangements, but overall P.O.D. walks this challenging line with focus and creativity. This project will add an intriguing, enjoyable musical detour to the library of any P.O.D. fan.
Fighting for the Future | Posted November-07-2014
Project 86 has long been known for their aggressive sound, brooding, theologically intriguing lyrics and no-holds-barred live show. They are also becoming increasingly known for prioritizing fans and fostering some unique connections. Part of that means utilizing the fan-funding model, with new release Knives to the Future being the second project launched by fans.
Despite the fact that Project 86's lineup has rarely remained static in recent years, featuring a revolving cast of musicians around frontman Andrew Schwab, the hard rock group's sound has stayed surprisingly consistent. Knives to the Future features elements that have become expected cornerstones of the band's work: intense, distorted guitars (see fierce opening track "Spirit of Shiloh"), militant themes ("Valley of Cannons"), perfectly placed gang vocals ("Captive Bolt Pistol") and lyrics that lean towards the unexpected and unrestrained.
As the title might suggest, this album focuses largely on apocalyptic themes. The title track offers the admonition "no retreat: there's nothing behind me. We've come too far to turn back now." That line serves as a marching order for the listeners, calling them to soldier on in the spiritual battle leading towards the ultimate victory of Christ. Album highlight "Genosha" is one of the few that deviates slightly in theme, beginning with the mournful vibrations of a cello and calling out the more melodic side of Schwab's voice as it explores a break in relationship.
Final track "Oculus" deviates farthest from the P86 norm, carefully combining electronic, string, and traditional hardcore elements to build an eerie masterpiece heavy laden with striking apocalyptic imagery. Among some of the strongest writing we've ever seen from the band stands a line that could easily be a thesis statement for much of the philosophy found in Project 86's music: "To die for something greater is all that we could live for."
Closing Thoughts:
This is the album fans have come to expect from Project 86, with the moan of distorted guitars, Schwab's blistering vocals and violent, heavily conceptual lyrics. Although it's a sound the band continues to nail, I would have liked to see them venture into the unexpected on a few more tracks on this project, especially given that 2012's Wait for the Siren showed such tremendous growth and exploration for the band. That said, the moments on this album where Project 86 uses their history as a springboard for charting new paths through their endless potentially are very worth a listen, and prove that this heavy music cornerstone has a lot of fight left in them. This is a project likely to further solidify the loyalty of their dedicated following.
Bringing Memories to Life | Posted November-03-2014
The Classic Crime is a band that, for many, defined the era of moody, post-emo punk rock during the late 2000s-- a time during which the genre was riding its last vestiges of mainstream attention. Their three full length Tooth & Nail releases, Albatross, The Silver Cord and Vagabonds, exhibited the best of what that label has enabled so well for so many years: alternative musical stylings and lyrics that, though frequently faith-related, aren't afraid to candidly recap the moments that faith is more like a wrestling match than traditional worship.
After wrapping their time with Tooth & Nail, The Classic Crime adapted to the changing music industry landscape and mainstream marginalization of rock and roll by fan funding 2012's Phoenix-- an approach they utilized again on their latest release, acoustic recap project What Was Done Vol I: A Decade Revisited. Both kickstarter campaigns were wildly successful, proving that the band still has a deeply dedicated following. This project, released on Matt and Toby of Emery's BadChristian label, revisits fan favorites from the past decade of the band's career as well as adding two new tracks.
Although the concept of re-recording a sampling of "greatest hits" in a primarily acoustic format is not necessarily a new or previously unseen idea at this point, what does instantly set apart What Was Done is the unflinching approach it takes to the acoustic concept. Where many bands have begun regarding the idea loosely, casually cutting corners with electronic aids and auto tune, The Classic Crime is painstakingly dedicated to keeping each track they label accordingly acoustic in the truest sense. Frontman Matt MacDonald in particular seemingly gives himself no quarter in the area of vocal perfection, lending every vocal line he cuts an exquisitely personal, raw urgency.
This is not to say, however, that there is anything rough or unfinished about this project. Although not all bands would have the musicianship to create a piece with such a high degree of acoustic authenticity without losing its sonic appeal, The Classic Crime is on point in every area of their instrumentation and execution.
The song choices were, according to the kickstarter project's description, "some singles, some fan favorites and some deep cuts we like." The result is a tracklist more diverse than an easy "here are all our past singles" kind of selection. For example, classic Albatross single "The Coldest Heart" is revived here in a quirky acoustic arrangement that somehow manages to maintain the momentum of the original, while The Silver Cord's well known offering "Abracadavers" is overlooked (although perhaps not forever, given that this collection is titled hopefully "Volume 1").
Selections which fall into the "fan favorite" category were carefully and accurately chosen. "God and Drugs" and the more recent "Beautiful Darkside" stand beside each other in melancholy, string-infused introspection. "God and Drugs" also beautifully illustrates the way some of the harder elements of the original songs are translated here, with a whispered bridge over a muted guitar bed.
One of the stand-out tracks here is classic track "We All Look Elsewhere," a fitting selection given that the concepts in it are seemingly crucial to the thematic core of much of the band's work. This song is paced and arranged beautifully to draw attention to the vocals and the lyrics. Another strong point is "Salt in the Snow," a longtime fan favorite with aching, numb-hearted lyrics and a soaring melody well suited to the stripped back format.
The two previously unreleased tracks here begin with "Selfish," a song that has a tone similar to that of Vagabonds as it explores the nature of grief and honesty. "Where Did You Go" utilizes a chilling acoustic guitar line and searing vocals as it mourns the feeling of being left behind.
Closing Thoughts:
One of the best parts of this collection is the way that it so completely achieves what it sets out to do in every aspect, from genuine acoustic arranging to a solid tracklist. This displays an incredible degree of artistic integrity, and other artists considering embarking on similar projects should take note. Another strong point of this album is simply that the chill arrangements draw more attention than ever before to the songwriting. The Classic Crime has always offered incredibly rich, dynamic and poignant lyrical content, and they seem to tap into that creative well on a new level through these arrangements. The mellow format flawlessly complements the moodiness of the lyrics.
As a fan of The Classic Crime since Albatross days, I was both excited and somewhat hesitant to hope that they could do their history justice in a way that fans would find satisfying. At the very least, this fan's expectations were met and surpassed, proving to me why the band has staying power despite the industry and genre climate: when they promise, they deliver. What Was Done, Vol 1: A Decade Revisited is the perfect homage to their history, a compelling breath of life into old memories. We can only hope that Vol 2 is somewhere not too far down the road.
Song to Download Now:
"Salt in the Snow (Revisited)" (Get it on iTunes here.)
Setting Souls Free | Posted October-01-2014
Although Remedy Drive is anything but new to the business of rock and roll, the new mission the band has adopted over the past years gives them a transformative vigor and intensity that brings a new edge to their music.
In the gap between last project Resuscitate and new release Commodity, lead singer and founding member David Zach began investing some of his time in the counter-trafficking efforts of The Exodus Road. Zach was quickly gripped by the compelling reality of slavery, of the struggle of light against dark occurring all over the world (often without the western church's knowledge or acknowledgement). Eventually, Zach himself spent time overseas working undercover with The Exodus Road, lending a hand as they moved towards freeing those enslaved.
Commodity was funded via kickstarter, and breathed into being as the band's new mission statement. With experiences so vitally important to the story of the human race serving as the backdrop, it's not surprising that for these songs the band would give their all, imbuing every note with fresh perspective on what really matters. Philip Zach, one of the three Zach brothers who formerly composed Remedy Drive with David, also returned to aid in the creative process for the first time since 2008's Daylight is Coming.
This is a collection of songs with a bite, full of urgency and musical grit. Title track "Commodity" is a good example of this, capturing the album's thesis with the phrase "I'm a soul inside a body, I'm not a commodity." This song declares the humanity of the marginalized, the incalculable value of those so frequently cast away.
"Under the Starlight" is an activist's anthem, exploring how small we can frequently feel in the face of big problems with a Muse-esque musical chemistry created by piano blended with buzzing electronics and a chorus utilizing the high end of Zach's range. "Love Is Our Weapon" displays similar grimy guitar laid down by Dave Mohr and flawless falsetto in its stirring bridge.
Although there's definitely a lot of musical edge here (see "The Wings of the Dawn," with verses spit in a pseudo-rap over a chilling blend of piano and a children's choir), there are softer textures here as well. "Cool of the Day" imagines a world pre-fall, pre-loss of innocence, with atmospheric instrumentation feeding the searching words "what was it like before this paradise was drowned in sand dunes?"
"When A Soul's Set Free" is another gentler track, built from a slow and sweet string section, describing the heavenly celebration when a soul is set free (a message that is quite literal in the case of Remedy Drive's current work, but that connects conceptually to any who are needing freedom). The song is given an edge by new drummer Tim Buell's rock solid beat.
Lyrically, David Zach has always been inclined towards the poetic and parabolic. His style is at its best yet here, employing imagery and analogies that draw the listener deep into the concepts expressed. "Throne" exemplifies this with the soul drawing lyrics "prisoners of hope, return to your strongholds / the king is still / the king is still on the throne."
Closing Thoughts:
Commodity is a concept album, and should be heard as such. It sets out on a mission to embody the concepts of freedom for the victimized and oppressed, the urgency born of recognizing the reality of a need for redemption. It is overwhelmingly to the band's credit that they manage to capture these concepts without ever seeming emotionally manipulative or false. By the end of the album, it's near impossible to ignore the cry of the captives.
The moody, musical grit blended beautifully with Remedy Drive's signature piano helps lend emotional weight to the mission. There is an undercurrent, something slightly foreign in the musical tone, that proves that the streets of Thailand left their mark on David Zach musically as well. All of this proves to form what is, in my opinion, the best album of Remedy Drive's career, in every area.
The music is only the beginning of the conversation. To learn more about human trafficking and how you can help, please visit theexodusroad.com.
A Graceful Bridge | Posted September-25-2014
Although Matty Mullins is a name previously mostly unheard in the field of Christian music, he is by no means unestablished. Mullins fronts the hardcore group Memphis May Fire, a Texas-based powerhouse that exploded onto the scene in 2011 with their first Rise Records album, The Hollow. Their polished sound, explosive energy and startling level of lyrical soulfulness won them the ears of the rapidly growing post-hardcore audience, leading to Warped Tour and the early 2014 release of Unconditional.
But this isn't all of Matty Mullins' story.
The themes of humanity's deep brokenness and need for compassion and love found in so many of Memphis May Fire's songs stem from Mullins' deep personal faith. In an interview with AlternativePress earlier this year, Mullins confessed to loving the metal scene all his life, but also having ties to a very different kind of music: Christian pop. The result is Matty Mullins, the self-titled solo project that fully embraces and expresses the hardcore icon's faith and love for faith-based music.
As a writer in the Christian music world who also has been known to attend Warped Tour and harbors a deep love for alternative music in all forms, I was excited from the moment I first heard about this album, anticipating that it had the potential to be the best of both worlds. I was definitely not disappointed.
Anyone who might have been skeptical about how genuine this project could be can rest assured: there is no material here that feels contrived. The tender "My Dear" is a song directed from God straight to the listener's heart, declaring unconditional love and reassurance over slick semi-synthesized beds. The poignant lyrics plead "cry to Me when life's unfair / your voice is the sweetest sound in My ear."
"99% Soul" is equally earnest, declaring the desire to let go of self-centeredness and step more fully into a spiritual life of imitating Jesus. The challenging "More of You" is a cry to surrender our tendency to control to God's loving hands, confessing "I'm not sure I'll get it right, but I know you love me despite my tendency to lose."
Although many of the lyrics are direct, frank discussions of faith, there are other themes here as well that are better expressed in this context than they would be on a Memphis May Fire album. "Back to Square One" expresses the sharp pain of betrayal and confusion when a relationship you've been deeply invested in falls apart. Suitably given that Mullins is also an openly dedicated husband, "By My Side" is a sweet tribute to his wife. Album highlight "Normal Like You" rounds off the lyrical themes with a discussion of some of the much felt but rarely expressed pressures and heartaches of being in a position of leadership and visibility where countless people share their burdens with you.
Musically, this is pop with an edge, clearly related to the work of Mullins' band without feeling like just an aside in their discography. "Glory," which focuses on the return of Christ, builds a kind of ambient awe that perfectly aids the imagery created by the lyrics. Smooth electronic soundscapes are punctuated by shatter sounds on "My Dear" and "By My Side." All of it is held together by Matty Mullins' crystal clear voice, shimmering and snapping through every melody with breathtaking mastery. Although we do get a brief gritty growl amid the desperate bridge of "Come Alive" (perhaps the most alt rock leaning selection), the rest of the album sticks to employing the clean side of the artists' vocals.
Closing Thoughts:
Matty Mullins certainly did not choose this route because it would be easy. He faced the risk of alienating Christian music listeners because of his alternative ties, and alienating his hardcore fanbase because of his expressions of belief. However, if this is the reaction of either side, they are missing out on one of the most earnest, genuinely passionate Christ-focused albums of the year. The Memphis May Fire frontman has gracefully bridged the gap between two worlds.
This is an album that achieves a rare level of vulnerability amid expressions of faith, choosing honesty above cliches as it navigates the territory of belief. Musically, this is a bright collection of songs venturing onto slick electronic ground without straying too far from the solid skillset Mullins has honed in the rock and roll arena. Softer sounds are given just enough guitar and vocal edge to cut to the heart alongside the soaring lyrics. This is a phenomenal addition to any rock or Christian pop fan's catalog.
An Atmosphere of Living Water | Posted September-21-2014
Justin Jarvis is a Florida-based worship leader previously known for his work with Jesus Culture, although he is a dedicated artist in his own right who has released songs resulting from his service in his local Fort Lauderdale church. His latest project is Atmospheres Live, a 10 song collection bringing listeners into the heart of one of his worship sets.
The musical sound of this collection will be instantly reminiscent of projects like Bethel's Tides or United's Zion, with a semi-ethereal, sweeping feel tempered by acoustic and subtle electronic elements. Opener "Take Heart" exemplifies this with its soaring chorus and upbeat sound as it expresses the encouragement we find in His constancy. "Be My Love" has a similar sound, rooted by a clean, upbeat guitar riff.
Some of the songs are softer, atmospheric and calm, providing welcome slow moments in the album's pacing. Title track "Atmospheres" is one such moment, its tender sound echoing the poignant lyrics "We are shifting atmospheres with the heart of the One we love." "Heaven's Light" is more mellow as well, which allows Jarvis's forceful, full-bodied voice to really stand and shine on its own.
Lyrically, the themes are the timeless declarations of the church, exploring the love story of Christ and His bride in "Taste," voicing the empowerment of the Holy Spirit in stand-out track "Rivers (Turn the Tide)." There is one spontaneous worship track found here in "Have Your Way," a moment which feels deeply genuine as it works from the earnest plea "have Your way oh God."
Closing Thoughts:
This is a collection of beautiful, heartfelt moments with Jesus. The live format suits this collection of songs well as it invites us to participate, although more presence of the crowd's vocals and response could have made it even more effective. Although this is not a groundbreaking project musically, Justin Jarvis's powerful voice is the auditory strongpoint of the project, and it's a voice that more worship projects would do well to invite to join them. Overall, this project holds strong appeal for fans of Jesus Culture, Bethel, or Hillsong Worship.
Holding Their Own | Posted September-13-2014
The 2012 release of Flyleaf's New Horizons was largely eclipsed by the startling news of iconic lead singer Lacey Sturm's departure, a development that left fans uncertain about the future. As one of the most successful crossover hard rock acts of the past decade (their self-titled 2005 debut is certified platinum), transition to a new lead singer was a treacherous path for the band to navigate, requiring them to win over their fanbase all over again.
That new lead singer is Kristen May, a powerhouse singer/songwriter who formerly fronted disbanded act Vedera. Despite Lacey Sturm's warm, heartfelt endorsement of her successor and the way Kristen immediately began proving her powerful voice on stages with Flyleaf across the country, many fans continued to remain skeptical or, in the worst cases, outright hostile. The studio debut album for the new line-up, Between the Stars, should definitively prove the criticism ungrounded.
Lead single "Set Me On Fire" has already given fans a taste of the harder side the album has to offer, with raw guitar riffs and keen vocals. Guitarists Sameer Bhattacharya and Jared Hartmann are on point throughout the album, providing chugging, gritty guitar riffs that ground songs such as "Traitor" and "Well of Lies" firmly to Flyleaf's established sound.
Some songs however venture into more pop-inspired territory, with more mellow vocal tones and subdued instrumentation. Melancholy pop-rock-leaning "Blue Roses" and hopeful "Home" exemplify this style. "City Kids," an album highlight exploring nostalgia and the bittersweet blend of loss and gratitude accompanying adulthood, also leans towards the pop end of the spectrum, although some raw screams carrying the transitions between chorus and verses help it retain a distinctly Flyleaf vibe.
Lyrically there is a definite shift in this new era of Flyleaf, with the intensely spiritual, cerebral lyrics of Memento Mori and New Horizons giving way to more concrete themes and storytelling with spirituality serving as an undercurrent. "Platonic" explores navigating the murky waters of undefined relationships. "Sober Serenade," another album highlight, addresses an addict, expressing with heartache the occasional necessity of disentangling yourself from the self-destructive spirals of our loved ones.
Although faith themes are expressed with more subtlety than the band's past two albums, they are definitely present. "Head Under Water" declares the need to step beyond the words that have shamed us. Kristen May sings words that echo the truth God speaks to each of us: "Will you let them tell you who you are? / My love is deeper than the stars / and you are bigger than the scars that you feel at night."
It is strongly to the band's credit that they don't use this album as a platform simply to vent the angst that could easily be born from the challenges of their transition. However, it may be that struggle in part that validates songs such as "Marionette," a track which expresses refusal to become a puppet of others' expectations.
Closing Thoughts:
The first comment I've seen from many upon hearing Between the Stars or the live recordings released previously is some variation of "Kristen's not Lacey." That is clearly a factual statement, but rather than being a hindrance to the band, it is actually an opportunity. Kristen May displays beautiful artistic and personal integrity in choosing to be herself rather than attempting to be Lacey 2.0, and the result is an incarnation of Flyleaf that is certainly different but equally powerful.
Given that I am one of thousands of young adults for whom Flyleaf's debut was a definitive part of my teen years, and given that I have loved each release since, I certainly went into this album with deep curiosity. With Between the Stars, Flyleaf blew past my expectations on the first track, momentum which only continued to build through the remainder of the project.
Not only has Flyleaf proved beyond a shadow of a doubt that this new incarnation can hold its own; they have also made what is easily one of the best albums of their career. Between the Stars hosts raw, down-to-earth yet emotionally rich lyrics alongside thundering guitar-driven instrumentation that maintains the best of Flyleaf's past while forging ahead into their future. This easily lands near the top of the year's list of must-have rock releases.
Charting the Deep Waters | Posted September-09-2014
With the early 2014 release of Switchfoot's Fading West, fans might have assumed that would have to serve as their sole Switchfoot-fix for the year. But the band surprised many fans by announcing just a week in advance an EP of b-sides from the project. Refusing to skimp, as always, the band offers fans seven songs on The Edge of the Earth that perfectly complement the main album.
One of the songs Switchfoot die-hards are sure to latch onto instantly is "Against the Voices," a track Switchfoot debuted at live shows in 2010 before considering and then shelving it for both Vice Verses and Fading West. The long-anticipated arrival of this track is worth the wait, with clamoring synthesized voices and moody bass laid down by Tim Foreman highlighting the story of internal struggle: "In my mind I hear the voices / in my mind I have my doubts. / Burning fears, these ghosts and apparitions / only a whisper can drown them out."
Another important moment for Switchfoot fans is "What It Costs." This song is the first time in Switchfoot's nearly two decade history that dynamic frontman Jon Foreman steps back, allowing his brother Tim to take the vocal lead. The result is a deeply poignant and vulnerable ballad, a song previously heard during a moment of uncertainty and heartache seen in the band's film. Although Tim Foreman's voice has a slightly higher and cleaner timbre than his older brother's, it manages to hold its own while avoiding sounding incongruous in the context of the other offerings.
"Fading West," which ironically did not make the album of the same name, is the only previously released track here (it was available to fans as part of the Fading West EP released alongside their movie debut tour last year). This is one of the more upbeat selection on The Edge of the Earth EP, offering smooth surf-scene ready vocals and lyrics with a delightful twang in Drew Shirley's guitar.
Another bright track, title cut "Edge of the Earth," takes a stripped back approach instrumentally. The band utilizes a ukelele and a simple melody as they lyrically explore their journey, both in the process of creating and filming Fading West and their over-arching narrative as a group. "Liberty" has the soul of an old spiritual cast in pop rock tones, declaring "every saint has got a past / but every sinner's got a future. / Only You can free my soul."
Most of the other songs take a moodier direction, painting a brooding sonic horizon that resembles Eastern Hymns For Western Shores most closely of the band's prior discography. "Skin and Bones" is a haunting, ethereal exploration of life's wastelands, rooted to a somber drum backbone built by Chad Butler. The lyrics "I'm not afraid to die / afraid to be free. / I'm not afraid to doubt / afraid to believe" are a piercing example of the soul-searching style frontman Jon Foreman writes and sings so well.
"Slow Down My Heartbeat" is another stripped back, melancholy offering, with some stunning keyboard work from Jerome Fontamillas and layered percussion that perfectly mirrors the deliberate movement of the melody.
Closing Thoughts:
The Edge of the Earth EP is the perfect match for Fading West. The passionate joy and enthusiastic hope of Fading West is balanced here by the subtle, searching tones of The Edge of the Earth. The songs boast the same inventive nature, finding ways to paint musical pictures without relying as heavily on guitars as past work (although the guitar tones are still textured and vivid). There is less of the pop bent here however, leaning more into uncharted waters of brooding experimental sound and questions that run soul-deep. This is an essential addition to any Switchfoot listener's discography, and perfectly musically rounds out the themes of the movie.
Reforging Identity | Posted August-29-2014 Attack, the latest from hard rock outfit Disciple, is the first release since a lineup reinvention that leaves frontman Kevin Young the only remaining member since the release of 2012's O God Save Us All. Band members aren't the only thing new in Disciple's world: they're also finding their footing on the independent artist playing field, this new project being the result of an incredibly successful fan funding campaign.
Given the nearly simultaneous additions of Josiah Prince (guitar), Andrew Stanton (guitar), Jason Wilkes (bass) and Joey West (drums), fans might expect to hear a sonic disconnect on Attack, or at least some evidence of the challenge presented by such a massive transition. It's a testament both to Kevin Young's ability to helm his band and to each member's incredible musicianship in their own right that no such snag occurs, leaving us with one of the most solid offerings from the band to date.
For their foray into independence, the band returned to producer Travis Wyrick, who produced the majority of the band's discography for the first decade and a half of their career. It may be this partnership coupled with the band's new-found freedom that creates the classic Disciple sound immediately apparent on lead single "Radical," which kicks the album off on a high note.
Tracks like scorcher "The Name" and title cut "Attack" will satiate longtime fans who have been hoping for a sound more similar to the band's earlier work, providing straight forward, solid guitar hooks from new guitarists Andrew Stanton and Josiah Prince alongside aggressive vocals and lyrics touting an unabashed gospel message.
Although the classic aggressive Disciple sound is present, it's tempered by the melodic maturity gained on the band's last two releases. The anthemic "Dead Militia" employs rallying gang vocals and a crunchy guitar bed with a refreshingly clean melody that makes the song instantly singable for audiences (as proved by the enthusiastic reception the track has already received on the tour and festival circuit this year). More mellow "Yesterday is Over" also offers a smooth, instantly memorable melody to match its gentle but earnest call to leave the past behind and step into our new identity in Christ.
Lyrically, this album is as straight-shooting when it comes to the gospel as old school offerings were, but with the most grounded presentation yet. Kevin Young's passion for the gospel and the Bible has consistently driven the group's songwriting direction, and independence seems to have opened the door for that passion to be expressed with complete openness. "Scarlet" is one of the most moving, breathtaking musical presentations of the grace of Jesus Christ released by any band in years. "Angels and Demons" draws on bass player Jason Wilkes's soaring, polished vocal tones to create a call-and-response sound as the song references Romans 8:38-39, declaring that nothing could separate us from the love of God.
As the title suggests, much of this album addresses conflict, specifically the spiritual conflict of a believer trying to embrace and embody light in a world where darkness is actively moving against them. Hard-hitting "Lion" is a call to action, exhorting believers to be "bold like a lion" in the midst of that conflict. This track is largely carried vocally by Jason Wilkes, who utilizes the hauntingly clear vocal tones developed in his years as frontman of High Flight Society.
Album highlight "Unbroken" will satisfy newer fans as it gives a stylistic nod to songs like "Dear X" and "Draw The Line." This track honestly expresses the way all the heartaches that come against us can leave us weary, but also declares unshakable hope that He can preserve us, no matter what we face: "so let the sky fall down, the earthquake shake the ground / whatever comes my way I know that / I'm coming out the other side unbroken." "The Right Time" is another smoother ballad-style offering, describing our deepest needs encountering God's relentless compassion.
Closing Thoughts:
This album is one of the strongest of Disciple's career, promising to be an instant favorite with the fans who made it possible. Attack is built of ferocious guitar riffs, swelling melodies, searing vocals and a provoking and compelling declaration of the gospel that instantly sweeps the listener into spiritual awareness. Despite the lineup revolution, this album has Disciple's identity stamped on it more firmly than perhaps ever before, lending the album momentum born of confidence and dedication to its message.
As a longtime Disciple fan, this album was exactly what I hoped it would be. With elements present from every era of Disciple's history, from abrasive hard rock grit to soothing melodic ballads, this album is sure to claim a treasured spot in the collection of any hard rock fan.
Shining Synth | Posted August-28-2014
Electropop group Esterlyn's latest is the Love EP, the follow-up to 2012's Woven, their first venture into the electronic world.
The EP starts with a refreshing synth sound in intro "Alms" that bubbles into the collection of songs, blending with an indie worship sound reminiscent of Rend Collective or All Sons & Daughters in songs like "Break My Heart" and "You Awaken." The electronic sounds are crystal clear, grounded by booming percussion.
The themes of the collection are found in title track "Love," which summarizes the project with the words "I am lost without love / Your love is never gonna let us down." "Holy Fire" is a cry for that love to set life blazing in our hearts, while "Choir of Angels" is a worshipful response.
Closing Thoughts:
This EP uses the recent trend to blend folk and electronic elements well, creating a sound that is coherently engaging and smooth. The purely instrumental intro and interlude "Heaven's Gate" hold some of the best moments of the EP, creating the atmosphere of worship and wonder without words. The themes found in the songs offered here do somewhat lack complexity and originality, leaving room in the future for the band to either explore fresher themes or else express these cornerstone ideas in a more unique way. Despite that however, the songs express worship and God's love earnestly and enthusiastically, making this an encouraging and uplifting musical experience both in its sonic atmosphere and its lyrical content.
MaryNikkel_NRT's Music and Book Reviews 
