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...
Seizing the Moment | Posted August-11-2014
Hip-hop/urban artist Manafest (Chris Greenwood) has forged a path with iron-clad determination, a blood-sweat-and-tears work ethic, and some incredibly solid beats married to rock and roll grit. The skater and musician branched out into yet another area this year in writing the book Fighter (sharing the same title as his 2012 album), which is set for release this October. Manafest's unstoppable momentum continues with the end of summer release The Moment, which is the result of a fan-funded PledgeMusic campaign.
Manafest's tunes have always stood on the tension between rock and hip-hop, and on this release he fully embraces that tension rather than trying to fight it. The result is an album popping with energy and swagger, such as on rhythmic rocker "Bull In a China Shop" or crackling cut "Edge of My Life."
Although Manafest definitely continues to show off a solid rap flow (see title track "The Moment" and "Paradise"), this album see him fusing his strongest melodic hooks yet into the mix. "Criminal" exhibits this dynamic balance well, as does the surprisingly mellow "Love Wide Open," which gives us a glimpse into what happens when our darkest moments meet the light of Christ. Some smooth electronic elements round off the sonic landscape, proving instantly intriguing on tracks like "Cage" and "Light."
Thematically, this album is a fitting chapter for the artist, who has often spoken about the necessity of denying fear (which he describes as "False Evidence Appearing Real") in order to take hold of your life. This album comes from the heart of that decision, capturing the conflicting emotions of choosing to step out and claim your moment in spite of fears. Lead single "Diamonds" epitomizes this moment of faith, calling on Manafest's longtime friend and collaborator Trevor McNevan (Thousand Foot Krutch) to provide the melodic hook of the song, and to sum up its message in the bridge: "It's the faith like a child that counts when / I try to do what I think I feel is right / But it's never been something I control / It's so hard to commit when I don't know."
Closing Thoughts:
Manafest is indeed a fighter, both in his relentless dedication to overcome fear in order to claim his identity in Christ (and to help others do the same), and also in his battle to constantly refine a musical style that chooses the challenge of skirting genres borders. The result is a win all around for fans. The Moment pulses with immediacy, utilizing snappy rhymes and grungy guitars to demolish fear and call for faith. This is a stand-out moment in his discography, and a solid addition to any rock or urban library.
New Moves | Posted July-26-2014
The latest album from party rockers in Family Force 5 is the first release since the band's announcement that Solomon "Soul Glo Activatur" Olds, lead singer and oldest of the three brothers in the band, would be stepping down to focus on his studio work. Younger brother Jacob "Crouton" Olds (formerly primarily the drummer) stepped up to the plate as frontman, and new member "Hollywood" (Teddy Boldt, formerly of Wavorly) took over drums. The line-up change was the first serious shift in a chemistry the band seemed to have perfected on 2012's release III, leaving fans curious and, in some cases, nervous.
It is undeniable that the band displays a different musical direction on a few tracks, which was evident from release of AC lead single "Let It Be Love" earlier this summer (written with hitmaker Seth Mosley). The song focuses on the John 13:35 concept that followers of Christ should be most easily identified by their love, utilizing a softer sound with less of an edge than fans might expect (although it still definitely offers a solid beat). "Walk On Water" (featuring Melodie Wagner of Hillsong) is in a similar vein, emphasizing melody and a worship-oriented message. Although the band definitely shows impressive mastery of this sound, longtime listeners might struggle with a bit of a disconnect between this and past releases.
Those tracks are exceptions however, and the disconnect is bridged by other tracks on the album, notably openers "Sweep the Leg" and "BZRK." "Sweep the Leg" features vocals crackling with aggression from Joshua "Fatty" Olds and a tight guitar hook from Derek "Chapstique" Mount that will instantly incite headbanging. Lead rock format single "BZRK" employs an instantly likable frenetic energy and call to motion similar to past hit "Cray Button." Later track "Glow In the Dark" is a slick cut with an adrenaline rush inducing bass drop, thematically harkening back to "Radiator" with the words "This heart that is beating with love worth repeating / a fire to be something more / I glow in the dark, You are made of light / glow all day, glow all night."
The most notable shift in direction occurs lyrically rather than musically. Although there are definitely tracks primarily confined to positive energy and feel good vibes (a sound Family Force 5 does better perhaps than anyone else in their genre), tracks like "Time Stands Still" or the surprisingly poignant "XRAY" show a vulnerable and spiritually mature side of the band previously mostly just hinted at. A recurring theme is how vital love is, stressing that love is necessary for the human heart to both give and receive. Instrumentally, these songs lean on the smooth synthesizing skill of Nathan "Nadaddy" Currin, although new addition Hollywood's solid beats ensure that the songs are never without teeth.
Clocking in at 15 tracks long, a surprising duration in an era where most releases are confined to 10 or 12 tracks, the band does face the challenge of holding the listener's attention for the full length. There are however solid selections through the whole project, serving to re-engage the listener's attention span where it might otherwise be lost.
Closing Thoughts:
Although there are places where it seems the band is still trying to discover exactly how they will fill the space Soul Glow's voice once occupied, confident offerings towards the end like "Dance Like No One's Watching" and "This Is My Year" definitely prove that the band is ready to continue facing that challenge. The transition is overall surprisingly seamless, due in part to the fact that Soul Glow continued to contribute his writing and arranging skills to many of the songs on the album. Family Force 5's forays into new territory with gentler, more spiritually mature selections are balanced by the hard-hitting party jams longtime fans are sure to love.
One of the album's strong points is its energy. With Time Stands Still, Family Force 5 serves up songs on fire with a passion for life that is instantly infectious. These songs promise to lend themselves well to the group's memorable live shows, and the album forms a solid foundation as the band finds its footing in a new era. FF5's future definitely continues to shine bright with their particular positive radiance.
Vivid Electronic Worship | Posted July-24-2014
Florida five piece Cadence gave listeners a first taste of their smooth electro-pop vibe with their Awake EP in 2012. Summer 2014 sees the family band offering their debut full length project, the shimmering, worshipful Home.
Worship is on the cusp of a new era, an era that takes techniques native to wildly successful EDM artists and employs them to infuse worship music with new energy. Cadence is one of the bands pioneering this transition, utilizing a sound similar to An Epic No Less or recent breakout group Hillsong Young & Free.
Opener "I Believe" is a strong introduction to the band's direction, boasting lyrics that are vertical without losing personal earnesty while sending off sparks of electronic energy in the instrumentation. "For the Broken" utilizes a similar energy musically to emphasize the gratitude expressed to God: "You have come, and all our darkness, You light it up."
One of the band's strengths lies in the way they employ electronic techniques without using them as a crutch. Title track "Home" (with a strong feature from Jimmy Needham) gives us a slower, piano driven sound to lend poignancy to the lyrics speaking of wandering hearts finding home in Christ. The reverent "Everything Fades" also relies on more subtle musical sounds to focus the listener on the joining the deeply personal conversation with God. "Drifting" also sonically embodies the peace lead singer Donny Karpinen sings about.
The band's ability to balance old and new techniques is exemplified on "I Surrender All," a new take on the classic hymn, featuring Jonny Diaz. Although taking on such a well-loved and widely-known hymn is a risky endeavor even for the most established artist, Cadence takes it on with surprising success, casting the original in a more upbeat tone and inserting their own outro.
Closing Thoughts:
In a sea of recent vertically focused albums, Cadence's Home is likely to catch you by surprise with its exquisite synth sounds and intensely earnest lyrics. This is a promising debut that could easily see Cadence holding their own with worship heavy weights as they continue to develop their sound and their songwriting.
Unforgettable Final Notes | Posted July-16-2014
For fans of alternative rock, July 22 marks the end of an era.
In 2003, fresh Tooth & Nail signee Anberlin rocked the alternative scene with debut Blueprints for the Black Market, a project showcasing from the very beginning frontman Stephen Christian's formidable songwriting skills and a unique guitar sound that would captivate listeners through follow-ups Never Take Friendship Personal and Cities. A major record deal and several more innovative albums later, the band seemed to be at the top of their game after 2012's Vital. This only served to make the news of January 2014 even more stunning for fans: Anberlin's seventh studio album would be their last.
The five piece rock outfit is spending the year with a stint on the Vans Warped Tour, a final fall headlining world tour, and one last album released with the label who originally discovered them.
Their prolonged goodbye is being carried out on the band's terms rather than those of anyone else, which gave them breathing room for a unique creative process. In addition to choosing Tooth & Nail as the supporting label for the release, each band member chose their own producer to work with as they recorded their parts of the project.
Despite the bar being set nearly impossibly high by fan anticipation, with Lowborn Anberlin effortlessly delivers one of the best albums of their career. This project serves as both an impressive stand-alone and an emotionally satisfying farewell for fans.
Sonically, this project pulls together elements from all stages of the band's career. "Birds of Prey," a song built from the chilling warning "regret is nothing more than a disease," exhibits the electronic layering so essential to Dark Is The Way, Light is a Place and Vital. Harder music fans of Never Take Friendship Personal days are likely to latch onto "Dissenter," a blistering rocker with distorted, scratched vocals and Joseph Milligan and Christian McAlhaney's guitar tones shredded raw. The moody contemplation of mortality and the supernatural on "Hearing Voices" will harken back to themes from Cities, providing a staggering spiritual punch with the lyric "Everyone wants to know God, but they're afraid of what they'll find. Everyone wants to know God, but they want to live like He died."
However, Lowborn is far from a replay of past efforts, nor does it lean on days gone by to allow the band to coast to their finish line. Anberlin continues to push the artistic envelope, such as on Muse-esque masterpiece "Armageddon." This stand-out track pulses with desperation, declaring "I can hurt like nobody else, trust me now, I can find a way to bleed."
Thematically, the songs explore what it is to be human, self-destructive and desperate, yet longing for and healed by connection with loved ones and with God. Opener "We Are Destroyer" uncovers the entitled, apathetic mindset humanity seems to fall into so quickly, drawing on signature driving guitars to lend urgency to its chorus. "Losing It All" is one of the album's softer offerings, though it's built on a steady beat backbone provided by drummer Nate Young. The song paints a touching picture of love in the face of risk and uncertainty, proclaiming "it's not losing it all if we have each other."
As is to be expected, the theme of the band's wrap is addressed as well, notably in "Atonement" and "Harbinger." Bittersweet "Atonement" is poignantly autobiographical, giving us insight into the personal process the band members faced in making the decision to step away from Anberlin.
"Harbinger" is the perfect goodbye, suitably serving as album closer. Anberlin has a tradition of placing deeply contemplative, often eerie tracks at the end of each album, and this is no exception. Melancholy guitars and piercing vocals are bound together to create an atmosphere of reflection, but also to support lyrics reassuring fans that Anberlin's songs and the experiences they formed with their listeners are immortal and will live on long after the last show is played.
Closing Thoughts:
With Lowborn, Anberlin has set the crown on an already illustrious career. There is not a single purposeless or filler track. Every musical moment is intentional and infused with earnesty. If there was a definitive description of Anberlin's creative identity, this album would be it. Lowborn is Anberlin at its finest, blending vivid songwriting, razor sharp guitar tones, haunting vocals, and atmospheric synth beds that would make any 80s rock outfit envious. The group is definitely successfully blazing out rather than fading away.
In final track "Harbinger," Stephen Christian slowly sings the heart wrenching lyrics "I don't want to go now, but I know I've got to. But you will remember me." The entire project that is Lowborn confirms his statement: Anberlin will be remembered. We may not want them to go either, but if they've got to, these are the perfect final notes to an unforgettable era.
A Ragamuffin's Legacy | Posted June-30-2014
Recently released movie Ragamuffin takes us into the life of famed Christian songwriter Rich Mullins, whose richly creative career, often tumultuous personal life and early death in a 1997 car crash has left an indelible mark on the lives of Christian music artists and listeners worldwide. Suitably, a movie release like this comes accompanied by songs from voices who have been influenced by Mullins' extensive legacy. In the accompanying soundtrack, a diverse range of artists take on their favorite Rich Mullins songs and perform their own take on them.
Although most of the songs on this collection take a fairly reserved, orthodox approach appropriately respectful of some of the best-loved songs in the Christian songwriting tradition, there are also distinctive characteristics each artist brings to the table that gives the classics a new twist. Derek Webb's "Creed" (previously featured on his fan voted cover collection Democracy) utilizes Webb's almost playful blend of singer/songwriter and classic rock techniques, providing one of the more instrumentally complex offerings on the album.
Similarly, "I See You" by Audrey Assad takes the song and recaptures it in her ethereal vocal tones built from a calming piano foundation. "Calling Out Your Name" by Andrew Peterson (previously heard performed live) layers atmospheric instrumentation laden with the same anticipation of a storm found in the song's lyrics.
Another album highlight is Jars Of Clay's take on the intensely poetic "Land of My Sojourn." Dan Haseltine's voice is perfectly suited for the melody, and the band shows their customary artistry in knowing exactly how to scale things back to the lyrics and scraping acoustic guitar to achieve the maximum impact. "Ready for the Storm" by Leigh Nash is an example of how a very different vocal sound can still carry the lyrics with the same kind of power.
Two rarely heard Rich Mullins demos are also featured, "Now" and "Never Heard the Music." Both are raw enough to feel deeply intimate, and Rich's trademark poetic and personal songwriting make the songs sound immediate despite being nearly two decades old. "Never Heard the Music" beautifully sums up much of the songwriter's story: "I never heard the music until the day I met You, Lord. Now I bless You for the songs that each day brings."
Closing Thoughts:
This is a beautiful addition to the collection of any Rich Mullins fan wishing for some new echo of his incredible work, and also serves as a fantastic introduction to his gifted work for a newer generation of Christian music fans. It's a simple, sonically scaled back collection that truly allows the rich layers of Mullins' songwriting to shine.
Anthems of Atonement | Posted June-16-2014
Solid State signees Wolves At the Gate gained a following with the release of their impressive 2012 debut Captors. After honing their formidable sound with two years on the road, they're back with heavy-hitting sophomore album VxV (pronounced "Five by Five").
This album carries the carefully crafted blend of clean vocals and visceral screams that puts the band in the same playing field as heavyweights like Oh, Sleeper and Memphis Mayfire, with consistently brutal drum lines reminiscent of For Today and searing, scorching guitar tones straying into territory mapped out by bands like Showbread. Though the musical ground has been covered before, Wolves At the Gate definitely forcefully stakes their own claim in the heavy music world. First full track "Wake Up" crashes in with a chaotic vocal shove fitting for lyrics forming a call to action, demanding faithful believers speak about the truth. "Return" is another song shaping marching orders, serving almost as an apologetic for the presence of God.
There is an urgency throughout this album, a heaviness in the lyrical themes driven home by the blistering screams and steady thud of the fast paced metal-style drumming. "Wild Heart" and "The Convicted" both desperately declare the depravity of the human heart, yearning for rescue from itself. "The Bird and the Snake" is a parable-style story in which the snake represents Satan, eating a helpless bird feather by feather.
Perhaps the most lasting theme however is that of atonement. The album could be seen as building a kind of conversation between desperate hearts and their Healer (as voiced in "Relief" and "Rest"). "Majesty in Misery" uses a suitably violent musical slant to talk about Christ taking the wrath directed at humanity on Himself. "The Father's Bargain" is an often chilling 6 minute epic outlining a conversation between the Father and His Son Jesus, a conversation in which the Father makes the cost of freedom for the world clear-- and Jesus chooses to pay the price for the sake of love.
Closing Thoughts:
VxV is theologically dense and gospel-centric, emphasizing calls to repentance and redemption, frequently using strong scriptural imagery and voice overs to achieve an even stronger presentation. The music does not suffer at the hands of the message, however. Wolves At the Gate seems to have a knack for tailoring the sonic atmosphere of the moment to perfectly complement the lyric it accompanies. Although they don't coax anything particularly new from the style they write in, they do utilize the established conventions quite well. The album's strength lies in its urgency, setting scruples aside in favor of raw writing focused on our desperate need for a desperately loving Savior.
Reaching Towards Love | Posted June-16-2014
Kim Dexter is an artist who knows her way around the industry, albeit often behind the scenes. From serving as frontwoman for 90s group Mayfair Laundry to writing the theme song for Christian children's classic film series Bibleman, her varied songwriting and singing credential have built musical maturity into both her musical approach and her lyrics.
Her latest effort Reaching emphasizes a vertical lyrical direction, as is immediately clear on opening cut "Remain," featuring the deeply intimate worship lyrics "I will be made new when You hold me in Your arms / I'll know no sorrow, no regrets, no shame / Perfect love will remain." In keeping with the theme of the album, she even takes on classic hymn "Be Thou My Vision," a piece suited well to Kim's sweet, ethereal vocal style.
Musically, many of the tracks (such as "Pour Out Your Love," "Our Souls Cry Out") rely heavily on Kim Dexter's polished piano skills, building other elements of the instrumentation from that foundation. There are moments of musical surprise on the album as well, such as the introduction of a banjo on a few tracks or the heavily electronic leaning title track, "Reaching." Aforementioned "Our Souls Cry Out" also features a guest feature from Jason Dunn, who shows an unusually vulnerable and smooth side of his vocal range.
Closing Thoughts:
Although the joy and freedom we gain from God's love is a clear theme throughout, it is infused with a kind of sweet vulnerability that keeps the positive themes from feeling strained or contrived. Kim shares her soul in songwriting that is simple yet personal and poetic. Musically, it does seem to be asking for something a little more stand-out or compelling to mark it in the listener's memory. However, this is a strong collection of Spirit-filled songs that can easily be taken straight from Kim Dexter's heart and into our own, bringing a quiet calm to personal worship times.
Symphonic Sojourns | Posted May-12-2014
When heavyweight hard rockers RED released their fourth full length studio album, Release the Panic, fans immediately were aware of a massive sonic shift which left behind the signature symphonic rock sound integral to the band's previous albums. Although the move into new territory proved the band's courage and ability to thrive beyond the style they'd initially developed, it left some fans missing the previous style. Release the Panic: Recalibrated answers those concerns with a unique remix album that focuses on recasting some of the album's highlights in a more string-centered mold.
In many cases, the arrangements created are strikingly different, such as title track "Release the Panic," which leans more on frenetic violins to create the swell of panicked energy rather than the heavy crunch of electric guitar that carried the original. "Damage" and "Glass House" are heavy tracks re-interpreted similarly, building an entirely different sonic landscape to create a similar emotional pull. The originally softer tracks "Hold Me Now" and "So Far Away" mesh best melodically with the strong string presence, given that they were initially structured in a less heavy direction.
In addition to the re-imagined pieces, RED offers up new track "Run and Escape," a beautifully eerie rocker that should assure any doubters that this is still the band we grew to love on previous classics "Breathe Into Me," "Death of Me" and "Feed the Machine." Though strings are present here, so are the crushing force of Anthony Armstrong's guitar riffs and the tortured-soul vocals offered by Michael Barnes.
Closing Thoughts:
Although I find myself questioning the move of reinterpreting an innovative album in a safer direction, the result is undeniably incredibly solid. Though there are moments when the songs feel like they've been oversaturated with strings, this is mostly justified simply because remix albums need to be different enough to justify fans buying re-worked versions of material they likely already purchased a year ago. Overall the treatment suits the songs well, and is undeniable proof that RED has truly mastered the symphonic rock sound they once pioneered (a sound countless other bands have attempted to emulate much less effectively in the past decade).
Mission Established - Kutless' Glory | Posted March-31-2014
Although initially known for their rock and roll sound, with phenomenal radio success stories "What Faith Can Do" and "Even If," over the past five years Kutless has cemented an entirely different identity.
The former rockers are bringing their latest collection of contemporary worship tunes to the table in the form of new album, Glory. This release follows in the footsteps of It Is Well and Believer, although if anything even more firmly stepping into their newfound genre association. Songs like "In Jesus' Name," "Revelation" and "We Will Worship" are as vertical and reverent as their titles would suggest, fixing their attention on the unchanging character of Christ.
A few other songs do provide more of the insight into struggles and human experience which typified previous Kutless songs thematically. "Never Too Late" is one such selection, serving as a reminder that no one is beyond the reach of God's love. "Restore Me" follows in a similar poignant vein, recognizing human heartache in order to highlight the restoring power of God.
Musically, the album falls solidly in the adult contemporary style, featuring mellow sounds in the verses with occasional strong keyboard presence and drawing in the solid guitar lines of James Mead and Nick Departee to buoy up the choruses. The smooth tones of Jon Micah Sumrall's lead vocals actually seem more fitted to this musical style than their previous work, especially given that the band opted for their most slick, glossy production sound yet with this release.
Closing Thoughts:
When it comes to the field of contemporary worship, Glory proves that Kutless is a player that's here to stay—and that they can more than hold their own. The album carries the sense that Kutless has finally gotten past the initial discomfort of transition in order to hit their stride. Every note and lyric is confident and assured, both of their musical direction and mission as a band and of the unchanging, unrelenting character and love of Jesus Christ. Although this album doesn't bring a lot of innovation or fresh insight to the airwaves, it's a solid and uplifting offering that could easily become a staple in the listener's worship library.
John Mark McMillan established his indelible mark on the contemporary church worldwide as the original writer of "How He Loves," a song David Crowder*Band popularized and made one of the most influential and widely-known worship songs of the past decade.
That same raw, earnest, poetic songwriting (also characterizing setlist staples "Skeleton Bones" and "Death in His Grave") reaches breathtaking new levels of intensity on his latest release, Borderland.
Singles "Love At the End" and "Future/Past" were received with deep enthusiasm long before the full album's release. "Love At the End" is a beautiful folk-vibing declaration of the complete lack of ultimate power death and despair have on the hearts of the redeemed. "Future/Past" is unashamed worship of our eternal God, offering deeply rich imagery to express adoration.
The album's title is explained in the dark title track and the melodically stripped-back "Monsters Talk." Both express the human tendency to linger on the fringes in the dark, even when the light is in sight. This tension of the heart's darkness meeting its deep desire for God carries the album thematically. This tension is also expressed in sonic tensions between deep, moody percussion and airy choral vocals.
McMillan truly seems to have achieved a rare and precarious balance in multiple areas, including weighing musical originality and experimentation against rock-solid theological grounding. Opening track "Holy Ghost" is a good example of this, the chorus proving instantly accessible while also referencing some of the oldest doctrinal concepts and images tied to the Spirit: "dead in the water like lamb to the slaughter if the wind doesn't sing her song / I'm speaking in tongues ‘cause I need a Holy Ghost."
Similarly, "Silver Shore" draws on the Old Testament story of Daniel, "Monsters Talk" heavily employs Romans 7, and "Heart Runs" references Jonah and Psalm 47. Although pleasing to the ear, this is not an album that sings intellect to sleep. The truths presented are engaging enough to satisfy a truth-craving emerging generation while finding their footing in centuries of Church tradition and thought.
These songs could easily find their way into the modern-day liturgy of the contemporary church. "Future/Past" is an obvious pick for that kind of usage, but "Heart Runs" could be equally (if not more) powerful in the corporate setting. This track explores the longing characterizing the Christ-follower's life with strikingly earnest and beautiful words recognizing our Lord as our Everything. This leads nicely into album closer "Visceral," which describes the tumultuous, often violent struggles that birth us into the Kingdom of Heaven.
Closing Thoughts:
John Mark McMillan's latest is an exquisite blend of indie and church music sensibilities, vibing with folk trends one moment and reverent choral traditions the next without ever feeling like it leans too heavily on convention. This is some of the strongest songwriting heard on a worship-oriented project in the last decade, always prayerful in posture but consistently, viscerally honest. Every single sentence of each song is worth being marked and mulled over on repeat listens. A David-like wrestling with human flaws and divine grace mark this album with a kind of living poetry rarely found in contemporary songwriting.
For indie fans who have despaired of finding a project with a beating heart at its core instead of cold intellectual cynicism and for worship fans who have been craving something a little different musically: this album is for you, and it's not to be missed.
MaryNikkel_NRT's Music and Book Reviews 
