A Folk Music Surprise | Posted November-04-2017
Tooth & Nail has been known for years for launching some of the most beloved of rock bands in the biz. But with The Welcome Wagon on their imprint Gospel Songs, the label expands their horizons with one of their most adventurous stylistic ventures yet.
On their latest album Light Up the Stairs, The Welcome Wagon explores a folk sound that overflows with throwbacks to musical eras past. Tracks like "Lamb of God" exemplify the band's atmospheric approach, in this case taking lines of the Agnus Dei and adding in lush folk musical backing to uplift the prayer into a full musical outing. As self-taught musicians, the husband and wife duo buck more corporate musical styling and offer a more original and intimate musical approach. Different musical surprises, like accordion, sprinkle themselves throughout the songs, making for an unpredictable ride. Lead single "All These Trees" even manages to sound like a classic rock ditty.
Fans of many of the classic Tooth & Nail bands are unlikely to be the target demographic for this collection of songs, but with a new sound comes the chance for an expansion of the Tooth & Nail brand with Gospel Songs to include some bold new directions. And fans of folk/pop may find a new artist to welcome to their musical rotation.
The Bottom Line: A folksy surprise, The Welcome Wagon offers listeners an authentic and vibrant musical outing that should resonates with those who prefer the more intimate and intricate side of recorded music.
For Fans Of: "All Sons & Daughters," "Future of Forestry," "Ghost Ship"
Plumb Appetizers | Posted November-03-2017
Fans knew Plumb was working on new music as her single "God Help Me" has seen growing radio presence. But they likely didn't expect to get a release so soon. While a proper full-length follow-up to Exhale still seems a ways off, Plumb has surprised us with the God Help Me EP.
At just 5 tracks, it's more an appetizer than a full course musical release. This means each of the songs has a greater load to pull to hold its own. The aforementioned title track is up to task, a strong offering in signature Plumb style that is sure to be a highlight of this stage of her career. "I'm Not Alone" joins it in excelling in the area of emotional ballads. There's a power to the vocals and a vulnerability that makes it a logical spiritual sequel to her hit "Need You Now."
Other songs bring in some of the electronics that are dominating pop radio right now. While no stranger to the electronic dance sound (Plumb's other signature is arguably the success of remixes), these songs ride the middle between her standard studio sound and full-on remix. This works well for "Acrobat," fittingly enough as the song talks about balancing our strength and the demands on us like an acrobat. "Crazy for You" worked less for me. I like the melody, but I felt like it didn't get the chance to breathe in the beats.
At just 5 tracks, this EP may leave fans a bit starved for a more substantial release. But these songs are strong enough to tide us over until Plumb is ready to release more.
The Bottom Line: While unlikely to topple her magnum opuses, Plumb still reminds us on the God Help Me EP that she's one of the most powerful voices in the business. Even a small-scale release like this from an artist of her caliber deserves your attention.
Reaching the Boiling Point | Posted October-26-2017
Boiling Point may be a late-year entry, but with Take Courage they may have one of the year's defining EPs on their hands. There hasn't been much on the calendar this year for rockheads, but Boiling Point's sound carries just enough guitar to be a treat for rock-starved ears. While the vocals and melodies pull the music more towards pop than many of their contemporaries, some of the driving vocals and crunchy guitars lift it firmly into the rock arena.
Opening cut "In It to Win It" is a singable pump-up anthem and instant attention-grabber. While there's a hint of the industrial electronic sound that's currently taking over rock, it's subservient to the guitars, not the other way around. This gives way to the poppier "Won't Let Go," which is still ridiculously catchy and energetic enough to keep things interesting.
"Run" balances chilling piano hook-based verses with a soaring chorus of God calling a wayward child home. Of all the tracks, this one is the most radio-ready, but in a good and crowd-pleasing way. "Once Again" is the first all-around ballad, and it's pulled off very well. It keeps the positive and faith-centered lyrics going, though it doesn't make quite the impression that its more energetic predecessors do. "To The End" and "My Hero" dial the energy back up some, although never quite recapturing the momentum of the earlier tracks. Still, they are strong offerings and fine closers to the EP.
I hadn't heard of Boiling Point previously, but I will keep my eye on them in the future. Their brand of edgier pop rock is sorely missed in the increasingly processed music scene. I do wish the lyrics dug a bit deeper than they do, but I came away satisfied with the overall project. At just 6 tracks, it's easy for listeners to invest the time in checking this one out.
The Bottom Line: On Take Courage, Boiling Point injects some quality energy into a year that sorely needs it, cementing their name as one to watch as we look for the next big thing.
A Fulfilling Christmas Journey | Posted October-12-2017
You probably don't know the name Jonathan Cain as well as other musicians of the 80s, but it's safe to say you know his songs. If you've heard of a band called Journey, you know they had a pretty popular hit called "Don't Stop Believin'" with a piano hook that could readily be called iconic. You can thank Jonathan Cain for that. He co-wrote that hit (and many others) and was Journey's keyboardist starting with the Escape album. Last year, he made the transition to CCM with an under-the-radar faith-filled release What God Wants to Hear. Now he's back with a Christmas album filled with more faith declarations than the majority of other recent Christmas releases could boast.
You won't hear any of the secular Christmas tunes here, and even traditional Christ-centric carols are kept to under a quarter of the album. Most of this album is proud original material, which for a Christmas record is pretty extraordinary. Musically, the album also forgoes a safe traditional Christmas sound for the most part (with the exception of the use of a children's choir, an essential for a Christmas record).
Opener "This is the Heart of Christmas" is a standout, proclaiming what Christmas is truly about with a soft rock musical approach that sets the framework for most of the songs. Vocally, Cain reminds me a lot of fellow 80's rock vocalist John Elefante. "Star of Bethlehem" and "Emmanuel" follow similar formulas, employing effective use of piano and soothing melodies to create some of the best Christmas worship in years.
It isn't until track 4 that we get a "Christmas standard," and Cain's rendition of "Angels We Have Heard on High" is very good, even employing the trendy tradition of adding in a modified chorus. It works well here, particularly in this track. Some of the other carols, however, do feel a bit like an after thought relative to the stronger original material.
"Joseph's Pride" and "Hail Mary" follow the same structure as the other originals and offer beautiful takes on Joseph and Mary, not often given their due in carols. "Hail Mary" pairs well with the preceding "You Shall Call Him." These serve as a refreshing musical treatment for Mary, who is often overlooked or reduced.
"It's Only Christmas When" offers one of the album's more danceable tracks, and it adds a welcome variety of tempo without throwing the whole thing off. The title track is another use of the album's sound done right.
I think if there is a weakness to be found here, it might be "too much of a good thing." By the time we get to the last quarter of the album, the individual impact of each song in the collective album diminishes a bit. Each song is still individually very good and will be welcome additions to many playlists. But in a start-to-finish play through of the album, they may begin to make the album feel a bit long as we get into the double digit numbered tracks. But these are minor caveats to a great album.
This is one of the most commendable Christmas records of recent years. The vocal performance is top-notch, and the melodies are soothing and worshipful. It's also great to see an album with so many original Christmas songs, one that foregoes some of the tired mainstream clichés--and all of this from an artist who gave us some of the biggest mainstream hits of the 80s. Listeners will be glad that Unsung Noel has graced our ears, appreciating the original and vertical offerings it brings.
The Bottom Line: Don't stop believing that Christmas music can be artistically driven, because Jonathan Cain has delivered a fine and much-needed collection of Christmas worship.
A Familiar Voice, A New Genre | Posted August-11-2017
It's always interesting when somebody from a different style of music tries their hand at a worship project. Given the often-monotonous nature of the praise and worship genre, there's instant curiosity when there's a chance to spice it up. Sometimes the result is just the artist caving in to genre norms; other times, it's a project that sounds the same as the artist's other work but introducing worshipful lyrics. And sometimes, the result is a happy mix. This is where Devin Williams' We Are Forever Yours EP comes in.
Williams previously was a proud wielder of the Christian rock sound. Subverting expectations a bit, this new worship EP isn't really a "rock worship" record. However, you can feel the rock influence on the composition of the songs relative to the standard worship fare. The lyrics are vertical congregation songs, but the execution is decidedly more melodic.
The title track "We Are Forever Yours" feels like something that could have come from the pre-Hillsong/Tomlin era of worship music, a bit of a "coffee house" vibe backed with musicianship that is full while not over processed. "Hear Our Hearts Sing" is a highlight, with a strong chorus and accessible melody. The rock influence is definitely apparent, but it's not overpowering and makes for a song still appealing to fans of praise and worship.
All of the songs follow similar formulas and succeed in offering quality worship tunes. If there's a drawback, it's that the similar approach limits the memorability of each of the songs. Few of the songs really serve as an anchor to the 6-track EP, and thus it's easy to avoid a start-to-finish listen. That said, all of the songs are quality contemporary worship and deserve a chance to be included with the big weights of the genre.
The Bottom Line: Devin Williams' take on worship music offers a fine collection of praise that provides consistent quality.
Let's get this out of the way: Anberlin was easily one of my favorite bands. I can listen to their entire catalogue start to finish and not skip a single song. And while every band member contributed to that signature sound, a lot of it was supported by the instantly recognizable vocals of Stephen Christian.
Shortly after Anberlin's departure, word broke that Stephen Christian was working on a worship project. In 2015 Christian took a job as a worship leader, and there was a lot of speculation as to how his musical past would meld with this new influence. Now his solo debut Wildfires is finally in our hands, and we can see what a worship record looks like coming from an artist whose catalogue is filled with spiritually cryptic songs about love and darkness. The answer? It's surprisingly accessible.
Those hoping for a unique genre-bending stab at worship should know that these songs play it fairly safe. Most tracks could contend for radio play, electing to trend towards the currently popular electronic sounds over more organic instrumentation. I always had a theory that, as the saying goes, Stephen Christian could literally sing the phone book and make it sound compelling. This album largely reinforces that feeling for me.
When I hear the rousing chorus of lead single "Gloria," or immerse myself in the splendidly singable "Lights Rise Up," I cannot help but be transported into a worshipful setting. Perhaps in the hands of a more generic singer, these songs would fall flatter. But Christian elevates them to a stratospheric status that I cannot resist. It's radio worship as it should be.
There are still flashes of the artful rendering that Anberlin brought forth. "Wide Eyed Wonder" echoes Christian's standard lyrical meat, and "One More Moment" serves as a slow-building treat that offers depth to the topic of praising our Savior.
A handful of moments do feel short of their potential. "Atmosphere" is beautiful and features strong guest vocals from Sarah Reeves, but ultimately fails to connect like some of the other cuts do. I also find the track order may not create the best flow. I would probably flip the last two tracks to create a stronger finish. Still, these are minor caveats to an otherwise engaging performance.
I think most will agree that this album doesn't topple the artistic highs of Anberlin's discography. Still, it's consistently very good and offers some of the more memorable and exciting worship songs of the past few years. It also gives a chance to hear one of the industry's best vocalists offer something new. Stephen Christian has hinted that this isn't the last record he intends to make, and I truly hope that is the case. When so many Christian artists are trading in their Christian audience for a more generic mainstream approach, it's encouraging to see an artist I already loved and respected going the other route.
The Bottom Line: Wildfires is Stephen Christian singing worship songs that are a step above the industry standard. It's not revolutionary, but it's honest, and it's a great soundtrack for contemplating God's character this summer.
An Exhilarating Summer Rock Release | Posted July-26-2017
Seventh Day Slumber has been one of the most prolific and consistent presences in the Christian rock scene for many years now. While they don't garner the commercial attention some of their peers do, you can rely on them to regularly add to their quality body of work. The band has carved out two markets for their music: light rock worship and a more guitar-driven hard rock sound. Both find representation on their latest release, Found.
The title track and lead radio single "Found" boasts the band's signature soft approach that carried songs like "Oceans From The Rain" and "Caroline" to hit status. "My Last Words" is a poignant look at leaving a legacy that looks to Christ and qualifies as another song I can see being a radio hit.
Other tracks like gripping "Sky is Falling" and the emotional "Sins of Our Fathers" provide clean guitar-rock goodness. "Heart on my Sleeve" wields one of the strongest of the album's choruses and holds a nice juicy guitar solo too.
Unlike some of their contemporaries, there is little here that doesn't tackle faith issues head-on. Seventh Day Slumber has always been bold about where they stand, and yet they are equally bold about the challenges Christians face. Themes of addiction, loneliness and self-loathing are addressed, intent on pointing to a solution rather than just wallowing in self-pity. This helps lift the band from just another source of cathartic commiserating to something that can encourage, without making light of struggle.
Those familiar with the band's music will find that these songs fit fairly seamlessly into their discography. While there's little here that really shakes things up, a band with Seventh Day Slumber's credentials has earned the right to go with what works for them. Joseph's Rojas' vocals are instantly recognizable, and the band has firmly established their sound and their mission. While the rock-o-meter has wavered back and forth over the years, Found might be one of their most balanced efforts yet. Fans of any of their previous work should find new gems here, and anyone weary of the 2017 musical drought should find some relief.
The Bottom Line: Found offers a healthy mix of the sounds Seventh Day Slumber does best, giving the summer of 2017 a nice infusion of rock.
A Better Day Dawns for Rockheads | Posted July-18-2017
I miss rock. It may not be "dead" as claimed by some, but it's rarer and rarer to find a release that dares to turn up the guitars. And the conundrum when you do find that type of album is whether you like it because it's truly exceptional, or because you're just starved for some rock.
XD Out's Better Day comes to a rock scene not as crowded as it has been before, with a sound that feels time-traveled from a previous decade. Brothers Chris and Josh Haynes bring a guitar-heavy sound that is crunchy and tasty for rockheads, with harmonies and melodies that are easy to sing to. Being independent, their sound is allowed to remain a bit more raw and unpolished than big label acts, so if that's your thing, you'll want to savor this.
Vocally, I had to do several double-takes to make sure this wasn't really Skillet's John Cooper circa 1996 time traveling to 2017. The vocals at several points feel like something old school Skillet would've come up with, complete with the unashamedly vertical lyrics. It's refreshing to hear rock that can spiritually transcend saying nice things to a generic "you," but the themes discussed do remain fairly basic thematically. "I'll Know" came the closest to giving me something deeper to ponder, singing about recognizing Christ. "Everything" is a good choice for a single, singable and engaging.
For guys just starting out, this is definitely a well-crafted batch of tunes. And touching back on the Skillet comparison for a second, I can't help but wonder if given those similarities, there may be a Comatose-level release waiting to be unleashed from the brothers Haynes.
The Bottom Line: For fans of classic-style Christian rock, or anybody eager for a healthy serving of guitars in general, XD Out is here to make sure 2017 doesn't pass without giving you some 4-chord goodness to chew on.
Dream Collage Shoots for the Stars | Posted June-22-2017
From the ashes of a long-neglected Christian Rock field comes Dream Collage. Wielding sounds from veterans before them, they're charging the rock scene with a release that juggles the aggressive and the melodic in every track.
There's almost a sonic battle going on through Ripple Effect, with a ballad-like rock sound often giving way to visceral screams that would make Red proud. And while the mixing of the two isn't really revolutionary, many comparable bands separate their tunes: heavy rock over here, ballads over here, with only occasional mixing going on. Here, even the mostly spoken word "Visions" erupts into gruff growls by the song's climactic conclusion.
Musically, the vocals lean a lot more towards screamo than the more polished rock musicianship would initially lead you to believe. I was hoping for some of the songs to rise above the others at times, but each of the cuts is still a well-crafted piece of art. With fewer and fewer albums coming out for fans of the harder side of faith-based music, Dream Collage might be an oasis fans have been looking for.
The Bottom Line: With a dynamic mix of soft and fierce in the tradition of Disciple, Dream Collage has launched quite the musical attention-grabber.
An Enjoyable Rush | Posted May-18-2017
Electronic music is radio's sound of choice these days, and more and more bands are getting in on the action. We Are Leo wades headfirst into the electronic pop waters with The Rush and the Roar, an album full of songs to get you moving.
Opening track "Dimensions" is a good choice to open the project, serving as one of the album's most memorable cuts with a chorus that sticks in your brain and beats that can cure even the most insistent cases of inactivity. "Astronaut" continues the momentum and offers the same benefits to make the album's start a one-two punch. The album sounds lush from start to finish, and you can feel a lively energy radiating off each track. The songs call to mind just a bit of old Hawk Nelson or Relient K.
Fans of electronic pop will be satisfied. Those who aren't diehards of the genre may wish the music felt a little more organic. The melodies are strong, but sometimes get a bit overwhelmed and lose their musical identity beneath the production level.
Lyrically, the band juggles the fun and the spiritual, making for an album happy to be a lighthearted escape from the weight of life. Songs like "Salt Life" and "Shine Forever" are infectiously joyful in their execution. It's hard not to like something that wears a happy heart so proudly.
The Bottom Line: Musical safety and a bit of an over-reliance on electronic production doesn't dampen an album that's likable and exuberant, making The Rush and the Roar a great summer listen.
JJFrancesco_NRT's Music and Book Reviews 
