Holy Mystery (Single)
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Conley Worship Conley Worship is the collective formed by Maryland-based worship leader David Conley. The Liberty University graduate just released "Holy Mystery" as the firstfruits of the upcoming album, Are...
New Life x New Vibe (Single)
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Red Letter Hymnal Red Letter Hymnal got its start doing Christian Dubstep/EDM covers of worship songs, garnering more than a million views each on videos for "One Thing Remains" and "God's Not Dead."...
Me Against the World: Vol. 2
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5ive Rapper 5ive, also known as Craig James, has a pretty incredible, radical conversion story of how Jesus met him in a huge way and instantly ended his addictions. Since then, he's been sold-out to God,...
Songs From the Sky are Songs FOR the Sky | Posted June-05-2017
It's been a wild ride for Brandon Bee and his family over the past couple of years. Having left his job as an in-house producer and worship leader at a Portland, Ore.-area church, Bee and his wife and kids pursued a wild call of God for music and ministry in Italy. However, after just a few months overseas, medical issues in the family brought the Bees back to the Northwest.
This season of change and travel and challenge has birthed some new songs out of one of the industry's most underrated talents. Now, after his discography has largely been dominated by artful songwriting in pop-rock flair, Brandon Bee gives us a worship EP in earnest, titled Songs From the Sky.
Fans of Bee's previous work, as well as the modern worship movement, will find something to love here, as the artist seamlessly transitions from corporate worship song to vertically oriented pop-rock song.
While Bee incorporates some synth elements on these six songs, there's no question that the guitar remains the main driving force of his music, whether it be driving electric guitars, the finger-picking goodness of an acoustic, or fun lead lines.
Although the EP is titled Songs From the Sky, I think it should be titled Songs For the Sky, because each song is directed right at the Lord, centering on the themes of declaration and dedication.
Dedication is shown even in the title of the second track, "I Give You My Whole World," and acoustically driven song of confession and decision that powerfully vows, "You deserve more than Sunday / So I give you my whole world." There are beautiful, soothing harmonies that carry the chorus, along with the atmospheric guitar tones that ring throughout.
The album highlight, "Activates," is incredibly singable, talking about how God's love and His Spirit reaches into the hearts of His people and activates them to change the world. From a first-person perspective, Bee sings in the large, climactic bridge, "Without fear, without blame, with a voice unashamed / We will tell the world there is no greater name / Than Jesus!" The vocoder effect in the bridge section elicits goosebumps.
In terms of declaration, "Comforter" kicks off the EP with a repeated refrain that "there is none above You," basically declaring that because He is above all the things of this world, the Lord is uniquely qualified to be our comforter. It's a definite congregational song that I could see being sung in churches with varying arrangements.
"Your Name Says it All" focuses on the name of Jesus--"enough for me, enough for all the lonely people..." The song manages to be driving and energetic without being manic; Bee keeps his chill throughout the entire project, although that doesn't mean it's a sleepy record by any means. "Your Name Says it All" is a nice hyperfocused song that resounds His name, a name that needs to be sung out more than ever these days.
"I Celebrate the Lord" is a song of declaration for the things Jesus has done for all of us, personally and corporately. After comparing himself to a sheep with a broken leg being carried by the Good Shepherd, Bee declares that he's given the strength to stand and be understood because he worships "the God of love." The ambling song builds to a beautiful crescendo that allows Bee to showcase his smooth, powerful high notes.
The only speed bump on this project, sadly, is the album closer. It's not that "Your Great Love" is a bad song; it's indeed a very good song--quite possibly the strongest on the record. The problem is that after five tracks of well-produced studio material, this is a somewhat out of place live track whose rawness wouldn't be a problem if it weren't juxtaposed with the other songs. The arrangement is solid and the lyrics are poignant, so it's kind of a bummer that this song didn't get a studio treatment, as it could be an awe-inspiring album closer.
Closing Thoughts:
Brandon Bee's foray into modern worship music is a delightful first outing, and I sincerely hope he continues trying to write songs for the Church. His creativity, musical know-how and passion for the things that matter are much needed in worship songwriting. He also does a good job of writing singable songs that aren't immediately timestamped by trendy arrangements, but instead, are equipped for longevity.
The Best Worship Surprise of 2017 | Posted April-17-2017
It's been a year or so of transition for the worship movement coming out of Southeastern University in Lakeland, Fla. The group--made up of volunteer student worship leaders--has been making albums every year since 2013, but their self-titled release is something different. It's not just a rebirth of the group under new worship pastor and main songwriter David Ryan Cook, not just a stylistic and production value upgrade, but a wholesale exclamatory introduction to the greater global worship community.
With this new record, listeners will find 11 strong individual tracks that flawlessly balance creativity and approachability, bringing a current sound to songs that could easily find a place in just about any Sunday morning worship context.
The "current sound" of incredible, interesting and varied electronic sounds peppered throughout the album reflects the musical leanings of Cook, who joined SEU after being on paid staff 5 years at Hillsong Church's City Campus in Sydney, Australia. Comparisons to Hillsong Young & Free are fair (although this reviewer prefers this project to the latest Y&F offering), as Cook deployed Y&F producer Michael Fatkin to create the soundscape for SEU Worship.
The songs run the gamut of club-friendly celebration tune ("Fountain of Youth", "Never Gonna Hide", "Great is Your Love") to the gut-wrenching expressions of adoration in ballad form ("Revival", "The Fullness", "Calvary's Tide", "Sanctuary"). Most tracks, however, fit nicely into a midtempo jam, where SEU Worship finds continually inventive (never the same) beats and grooves, also allowing for the movement's talented soloists to do a little vocal gymnastics.
Lyrically, the project is really strong, pointing to familiar concepts with inventive language. The topic of resurrection is addressed this way in the first track: "Filled with your love, found in your truth, I am forever young in You / You are my hope, my fountain of youth, Jesus my future's found in You."
One of the strongest tracks is album closer "Sanctuary" that resounds: "We are wrapped in resurrection / You have clothed us in Your glory / And now our hearts are no longer wand'ring / You've become our sanctuary!" The lyrics are definitely meant to be savored and reflected upon!
The Bottom Line:
One thing we LOVE about our job at NRT is discovering incredible music in unexpected places. To have a school-based worship outfit creating such memorable music that's current, creative and congregational is nothing short of extraordinary, and I hope that people pay attention to what SEU Worship is doing. This is one of the best worship albums of 2017 so far, and has all the makings of a strong movement coming out of the Southeast.
Multi-Max Excellence | Posted March-08-2017
Look, we all know three manifestations of Kevin Max. There’s the one we got to know through dcTalk (and will get to see again soon in that regard). There’s the one who writes and performs incredible pop music as a solo artist. And finally, there’s the one who pushes the envelope musically, lyrically and creatively for people wanting something less predictable.
With his newest project, Playing Games with the Shadow, we’re presented with a Kevin Max who flawlessly brings into the fold fans of his more conventional fare--those brought in by his work with Audio Adrenaline version 2.0 and his subsequent solo album, Broken Temples--as well as the fans who have appreciated his creative independence for the majority of the “intermission.”
While Max absolutely shines producing radio-friendly pop songs in the vein of what he did with dcTalk, Audio A-2 and the WE LOVE CHRISTIAN MUSIC AWARDS-nominated Broken Temples, there’s something that feels so much more real when Max is back in his unpredictable element.
The beauty of having a poet like Kevin Max narrating stories (in the form of albums), is that at times, the poetry is so deep and symbolic and wild that, like a genius painting at the art museum downtown, it’s up to the interpretation of the audience to decode their meanings.
You see this particularly with the pair of especially macabre sounding, haunting songs “Phantoms of Terra” and “Circus the Night (Human Zoo),” as well as the much-welcomed ballad that closes out the record, “Skin Of Our Teeth.”
One of my favorite lines from the record comes courtesy of “Election,” which basically spells out Kevin Max’s discomfort in traditional church world: “I’d rather hide out in bars with the misfits and ghouls / Then pretend I’ve found a home in that social club / with robotic and judgmental fools.”
But don't get wigged out; between Max’s prayers to God that he hopes he’s “elected” by God on that song (shout-out to his Baptist roots, y’all!) and the direct appeal to surrender to God in the midst of turmoil via standout track “Panic Button” (originally written for the recent Pizza Ranch compilation album), there’s plenty of evidence within the lyrics that Max is still very much a Christian working out his salvation daily.
As one of the more experimental, eccentric and artful voices in Christian music (or juuuust outside Christian music), there are plenty of tips of the hat musically and vibe-wise to David Bowie, Modern English, Depeche Mode and Duran Duran. Synths--not EDM synths, mind you, but the real deal from the ‘80s--saturate this record, accompanied by piercing guitar licks and drum machines. It’s a great tribute that manages to stay current.
Bottom Line:
Kevin Max does what he does best with this record: express his unique perspective and raw feelings poetically and musically to a degree that we rarely see nowadays--all while maintaining a strong, though always evolving, faith in God.
Fire & Ivy: The Indie BarlowGirl of the Future? | Posted February-08-2017
I have a confession to make: I kind of miss BarlowGirl. Yeah, the trio of sisters who made radio hit after radio hit with their smooth harmonies and burgundy vocals (I really have no other way to describe them) left an impression. As the industry desperately needs some new female voices, I have to say, I was excited to stumble across Fire & Ivy.
Made up of singers Chelsea Fritchey and Alexis Zelaya, this Florida duo isn't a sister act, but you wouldn't know it by the way their voices seamlessly blend. On their Eternity EP, they not only weave EDM, pop and worship elements together--they do so with very straightforward lyrics and inventive, unconventional, almost conversational phrasing.
The themes throughout Eternity involve growing and maintaining an eternal perspective. "Fire in the Sky" is a song of dedication--a New Year's resolution--to stop wasting time and to live for Christ. On "If You See Me," Fire & Ivy appeal to the community of faith to keep watch over their souls, saying, "When I stumble and when I fall, don't be afraid to come / Share with me words of life ... remind me this is not my home." The chorus nicely stretches out the word "home" with soaring tones that will stick in your head.
There are some Alessia Cara vibes on the title track, "Eternity," which basically is based on Matthew 16:26: "And what do you benefit if you gain the whole world but lose your own soul?" Continuing this line of thinking is my favorite song on the EP, "Yours to Use," which takes the eternal perspective to our temporal world, praying, "Savior make me new / My life is yours to use." Again, they make good use of stretching a single word, with the words "use" and "whoa" providing an awesome vocal riff to complement the driving EDM beat.
As an Imogen Heap fan, I was immediately "drawn in" by the song, "Draw Me In" (how appropriate) and its simple, vocoder-driven tones. This EP closer only mildly crescendos to the end of the track, instead putting the emphasis on the harmonies and the profound vocals, including the self-evident, but poignant statement: "To be human is to be horribly flawed." Not staying on that thought, Fire & Ivy later sings, "Instead of condemning you forgive / Instead of shunning you embrace."
The Bottom Line:
Fire & Ivy represent the latest example of how the independent Christian music scene is filling voids the rest of the industry has yet to fill. Fans of BarlowGirl and even Addison Road will find something to love with Eternity, with uncompromising lyrics and smooth harmonies. Is there room for this duo to grow in terms of polish, production and songwriting? For sure, but with Eternity, Fire & Ivy has taken a first step towards making a real impact on the Christian music landscape.
Thanks, Connor -- we've missed this kind of music! | Posted January-06-2017
Cleveland, Ohio's Connor Flanagan has been refining his sound for a while now as an artist, and with Mountains, it's clear he's hitched his musical wagons in the space between hip-hop and corporate worship music. Whereas Flanagan had been more of a folk/pop artist on previous efforts, his stylistic experiments have cemented his unique contribution to Christian music.
Lyrically speaking, Mountains reads like a journal, from Flanagan's honest spiritual musings ("I Believe (Mountains That I Face)", "These Broken Walls", "Without You") to his own thoughts on day to day life and making music ("27", "Writer's Block"). His delivery is focused, playful and honest all at the same time.
Musically, I'd compare Flanagan's sound to the darling of the early to mid 2000s, Paul Wright, who mixed acoustic guitars, hip-hop beats, raps and smooth vocals together for a vibey sort of sound. And sometimes, it even carries an indie pop vibe similar to the much ballyhooed and now-defunct band Above the Golden State with a hint of current chart-topper Ryan Stevenson. While Flanagan hasn't quite hit the stride or polish those bands had/have, it's refreshing to hear that sound reemerge.
"Fire In My Eyes" is my favorite tune on the project, blending all of the aforementioned elements into one song: humor, lyrical honesty, vertical worship, acoustic guitar, drum machines, raps, smooth vocals and harmonies, and even the much-beloved "Hey!" ringing out.
Fans will also be excited about "Waterfall," as Christian music hitmaker Shonlock makes a special appearance. The sing-talking Flanagan does on the song provides a nice juxtaposition to Shonlock's well-delivered second verse. The song, thematically, is a shotgun approach to the love of God, which is "falling down like a waterfall," per the bridge of the song.
Closing thoughts:
With Mountains, Flanagan has brought a sound back to Christian music that has been sorely missed. He still has some room for growth in terms of delivery, but I can't help but celebrate the many positives of this project. From the laid-back delivery of deeply personal vertical pop to the good acoustic hip-hop production value, it's exciting to see where Flanagan will go as he continues to ease into this creative direction.
Music that Colors Your Emotions this Christmas | Posted December-15-2016
Salt of the Sound is by no means new to the music world. The husband and wife team of Ben and Anita Tatlow have been making music for a number of years, launched as a band through music they created as a gift for their wedding guests. Now, they're trying their hand at some Christmas/Advent themed tracks, bringing their meditative, chill electronic sounds into the season with Waiting for the Dawn.
"O Come O Come Emmanuel" is a slowed down, tone-setting opener that features simple strings backing Anita's patient, echoing, Enya-esque delivery of the first verse and repeated chorus of this carol--the only "standard" in the six tracks.
"Shine So Bright" immediately captivates with chime sounds and piano that bring a "Carol of the Bells" intro. "There's a room without windows, without doors / A world helplessly searching for more," is one of many phrases that captures the longing humanity has for a savior.
According to the Tatlows, the track "White Forests" comes from the Swedish Christmastime favorite song, "Jul, Jul, Stralande Jule." Since there's no English equivalent to the song, Salt of the Sound made one, a hypnotic, echoing track where haunting vocals fly over ever-crescendoing strings, singing: "Hymns are sung from year to year / Eternal longing for light and peace! / Yule, Yule, radiant Yule / Shining over white forests."
"From Afar" proves what I'd suspected about Salt of the Sound all along: They're most concerned about creating a mood and a feeling--a soundscape, rather than necessarily using lyrics. It's almost like the St. Francis quote about preaching the Gospel to all the world, and using words if necessary. Anita does sing on this track, but only in vocalized "Ahh"s flying over the track that really communicates a feeling of seeking, especially when the trip-hop percussion comes in midway.
Title track "Waiting for the Dawn" features the Tatlows singing slowly and monk-like an octave apart, giving it a Of Monsters and Men kind of vibe, which demands more of your attention than you'd expect. But the lyrics they deliver are equally profound, particularly on the second verse: "Silent night, cold and bright / That star still shining for a lonely world ... Few were waiting, as the dawn appeared." The dark sound of the verses breaks away for a musical breath of fresh air as the major chords reflect the hope about which they're singing.
Salt of the Sound closes out a reverent and reflective collection by making a completely new song out of the ending of the chorus from "O Come All Ye Faithful," with the song "O Come Let Us Adore Him (The Day Has Dawned)," reflecting the ultimate conclusion from the Christmas story: He's here; let's worship! It's a song that, like many of the others on the record, is patient in its pace, yet uses the tension within its speed to carry plenty of emotion.
The Bottom Line:
The beauty of Christmas music, especially in Christian music, is that there are many different projects created with many different motives. This one is all about coloring your soul with the feelings that propelled the Christmas story, from longing, to a promise, to its fulfillment. If you're looking for a Christmas project full of standards and singalong memories, you're not going to find it here. If you're looking for some serious peace in audio form this Christmas--something that captures the hope and longing and rest Christmas provides--put on Waiting for the Dawn. Admittedly, you have to be in the right head-space (Bible study? Reading by the fire? Simple stillness?) to fully reap this project's benefits, but they certainly are there. And we're happy to see Salt of the Sound continue to embrace its needed role in the music world.
Timeless in execution and message | Posted December-05-2016
The NBC a cappella talent competition reality TV show, The Sing Off, was a big success for the music world--and, for our purposes, the Christmas music world. Because of that show, we not only have chart-toppers Pentatonix, who won the second season of the show, but we also have one-man vocal show Peter Hollens, whose career was launched by The Sing Off.
While his videos have been viewed a quarter of a billion times, there are still people just getting to know this Oregonian musician. And a great introduction to what Hollens and his community of supporters--deemed the Hollens Family--comes with his first-ever Christmas release, A Hollens Family Christmas.
Fans of Hollens know his repertoire is comprised of well-known pop songs, niche songs of nerd lore (such as pretty much everything associated with Tolkien), choir boy ballads and even an original song every so often. The trend holds with his Christmas release.
The record finds itself stylistically between the aforementioned Pentatonix and balladeer Josh Groban, yet offers a sound that is different enough from those artists to stand out in its own right.
From the beatbox-happy midtempo reimagining of "Little Drummer Boy" (featuring another big YouTube a cappella star, Mike Tompkins) to a massively layered rendition of "Carol of the Bells," there's not an instrument in existence Hollens won't try to replicate with his own mouth and voice. And he does it well.
Besides the obvious (and well done) go-tos like "O Come, O Come Emmanuel" and "What Child Is This," Hollens digs into the larger library of holiday tunes in order to paint a larger message of love, joy and peace with this album, featuring songs such as "Grown-Up Christmas List", "Happy Xmas (War is Over)" and the song made popular by Groban on The Polar Express soundtrack, "Believe."
But it's Hollens' one original song on the project that is the definite stand-out--and not just because it's the only track he has ever done backed by actual instruments. "December Song" delivers a powerful embrace of the best parts of the holiday season, and invites us all to keep our hearts centered on what matters, asking in the chorus, "Why can't we just hold on to silent nights, holy nights and angels singing lullabies / And Heaven and nature singing goodwill to all." It's powerful lyrically, vocally and musically, as a choir of Peters crescendos the song to its emotional apex after a bridge taken from "O Come All Ye Faithful."
And if you're missing the a cappella aspect, Hollens also includes the song arranged with just voices.
"Amazing Grace" is the penultimate song on the record--the only non-Christmas track on the project, proving this project is about more than just creating a songbook for the holidays. Featuring some of the guys from country/a cappella band Home Free--some more alumni of The Sing Off--the heartfelt, stripped-down, key-changing rendition will bring ya to CHURCH, y'all! But more importantly, it finishes the overall theme of peace, joy, forgiveness, goodwill and everything that Christmas--the birth of Jesus--represents. It's a warm sugar cookie at the end of an album full of comfort food.
Bottom Line:
Look, the formula here is pretty simple when you think about it, but it works beautifully: Take a loveable song, unleash Hollens on it by producing every vocal part, every instrument, every percussive sound and everything else needed, and enjoy the ride. There's so much going on sonically that it's easy to find something new to love with each listen.
Hollens has said A Hollens Family Christmas is his most important work to date, a collection of which he's the proudest of his career. And the reason for that is evident in the messages of the songs: in a world as divided and conflicted as ours is, we could all use some hope, even if in musical form.
A Hollens Family Christmas is a definite go-to for years to come on my holiday playlist, not just because I'm an a cappella nerd, but because of its timeless nature, its beautiful message and its jaw-dropping sonic complexity.
Full disclosure: I had the amazing opportunity to know Peter Hollens in college, and to sing in the a cappella group he formed at the University of Oregon, On the Rocks. I'm aware of his incredible musicality, love of the medium, and incredible work ethic! That said, that connection didn't influence the evaluation of this project. Perhaps my a cappella homerism does, though! If you want a second opinion, go check out Mary Nikkel's review of this project, too.
Stories and Sermons | Posted April-17-2016
I'll start by saying this: I was a huge Avalon fanboy back in the day. Loved them. I was even in a vocal group called "Adonai" during my college years, and could sing every single word to their biggest hit of all time, "Testify to Love." (You can read more about my thoughts about that here.)
I also was a huge fan of Avalon singer Jody McBrayer's first solo album, This Is Who I Am, which came out at the height of his group's success. While Avalon was considered edgy for the CCM crowd, McBrayer took things a step farther, creating a gritty pop album that was stylistically as avant garde as anything Christian music had made up until that point.
In the years to come, McBrayer would step down from Avalon and fade out from performing life, due to some pretty substantial health struggles, among other challenges. He emerged from a decade-plus sabbatical with a new sense of purpose, calling and excitement. (Check out his interview with us, where he shares the whole story.)
Now, McBrayer has released what is certain to be his first album in a new second act for the singer, titled Keep Breathing.
Right away, fans had to know this would be a very different album for McBrayer, as it was announced this would be released on his new record label home, StowTown Records--a predominantly Southern Gospel label.
And indeed, on Keep Breathing, McBrayer departs from his aggressive pop stylings in favor of a much more subdued, yet emotional musical experience that draws from his personal redemption story. Fans of Avalon's popular ballads "Adonai", "Can't Live A Day" and "Everything to Me" will find some familiar ground and somewhat of a stylistic home with McBrayer's new effort.
Musically, there's really just one instrumental palette at play here: piano, prominent bass guitar, simple electric guitar licks and a smattering of B3 organ for flair. Regardless of the unwavering composition, McBrayer's vocals have never been stronger, as the ultra-tenor showcases power, soulfulness and passion in his stratospheric vocalizations.
Thematically, the majority of the songs follow more of the Southern Gospel/early CCM writing style, where they either retell a vivid story from the Bible or a testimony (like on "Me", "What It Takes to Be a Savior", "He Gave Me More Love"), or they provide a musical sermon of sorts--driving home big theological ideas or encouraging one-liners meant to directly edify the listeners ("When We Look Back", "Keep Breathing", "This is a Son").
While it's a departure from much of what we hear on Christian radio these days--which is dominated by poetic (and vague?) poetry mixed with vertical worship songs--it's a refreshing hearkening back to an earlier, simpler time in Christian music.
Speaking of those musical sermons, it's fun to hear McBrayer sing the powerful musical sermon "God Is In Control" with his former Avalon bandmate Melissa Greene. It's an inspiring contemporary style duet that carries "God is in control, though godless men conspire ... His ways are higher than our ways ... Take heart and know God is in control."
"Keep Breathing," the title track, is a rousing encouragement to the down and out to take every moment at a time. It's a powerful and very personal song for McBrayer, as it relates directly to his own story, and his passion is especially felt in this song, the standout track. A soulful choir behind him provides some extra gravitas.
The simple, hymn-like, piano-and-upright bass song "With Each Borrowed Breath" has the most widespread potential (and even crossover potential), carrying a simplicity and congregational appeal like that of Keith & Kristyn Getty's "In Christ Alone" and Chris Rice's "Untitled Hymn (Come to Jesus)." It's my favorite track of the whole bunch, and it's intriguing to see McBrayer possibly delve into the world of worship.
Closing Thoughts:
Jody McBrayer is back. His distinct voice has been missing from the Christian music landscape from far too long, and it feels good to have it back--even if it's in a bit of a different format than fans might've expected. The truth is, after coming through the fires of challenge in his life, McBrayer's songs are laser focused on proclaiming the truth of Jesus and His hope and redemption in story-songs and musical sermons that leave no room for doubt. Keep Breathing is a milestone for McBrayer that could only improve with some more variety in the production and arrangements.
Performs the Rare Trifecta in Worship Music | Posted February-10-2016
Worship music is dominating 2016 so far, continuing a massive trend of people listening to more vertically focused choruses than ever before. Lots of individual churches are writing their own music and cutting records. The problem, though, is that these worship groups are typically stuck in their own myopia--getting influenced by one another and sticking to some same general formulas.
Enter Fellowship Creative. Since their 2014 introduction to the world, Running to Follow, they've quickly shown that they're not fitting into the mold of traditional worship music. They went a little more rootsy with last year's Alive In You EP, and now they're back and better than ever with the church's strongest worship record in quite a while, Eclipsed.
The band lives up to their last name by executing the most difficult trifecta in church music: writing thoughtful/poetic/unexpected lyrics, interesting musical arrangements and songs with congregational accessibility. It's a feat rarely achieved, and Fellowship Creative does this all over the album--in fast songs, slow ones and midtempo ballads.
Toeing the line between electronically driven pop and guitar-propelled rock worship, Eclipsed takes the best of all worlds for a nearly perfect modern worship album that pushes the movement forward.
There are a LOT of highlights on this project, including the folktronica lead single, "Grace On Top of Grace", the rallying cry of "Moment", the boom claps of "Jesus Our Hope", the chilled out vibes of "Stars" and "Holding Onto You", the 1990s-sounding sax solo on "Never Giving Up", the atmospheric tenderness of "No Escape" and the funky beats of youth-friendly "Caution to the Wind."
In a standout album, there are two songs that definitely stand out. The hymn-like "Lead Me" is a beautiful, stripped down ballad beseeching God to do what the song title says. And "Jesus Is Alive," although the most formulaic of the bunch, has the heart and gravitas to be the Easter theme of 2016.
The bottom line:Here's hoping that the church at large wakes up to Fellowship Creative and embraces its music as the new gold standard in worship music. Say goodbye to formulas and cliches, and hello to authentic, artistic expression to the Lord.
Full of Love, Soul and Rock & Roll | Posted November-18-2015
He's a dad, a husband, a worship pastor at an inner city church, and--oh yes--a recording artist. It's these different environments where Portland, Oregon's Tray Michaels percolates the ideas, songs and themes that make up his long-awaited new EP, Reckless Abandon.
Produced by Brandon Bee, this project presents five edgy-yet-worshipful, familiar-yet-fresh sounding praise tunes that walk the line between arena-ready anthems and Sunday morning staples.
This project has to be approached from the intended perspective as a worship EP. Michaels--the worship pastor at Revolution Church in East Portland--plays these songs during weekend services, and the diverse congregation responds passionately. It's not your traditional sounding worship project, but it is somewhat familiar, as overtones of early Jeremy Camp and Jake Hamilton certainly make themselves known.
First track "Come On Jesus" goes from reflecting on what Jesus has done and shifts to a cry for Him to "do what You do in my life." It's a catchy, singable refrain and has become somewhat of a motto for Michaels and his church. The guitar leads evoke another era of rock worship, but it's a pleasant memory, and Michaels' vocals (as well as his wife, Ashlee's) augment that atmosphere. The theme of God's love throughout history and in Michaels' life is continued in "Love Like a Hurricane."
The more chill "Won't You Come" features a more acoustic approach as Michaels builds into a big chorus inviting Jesus to "come and fill this place as Heaven joins us in singing Your praise." It's probably the most congregational out of the bunch, and features some great, unexpected chord progressions.
As a worshipper, Michaels makes use of purposeful space in the midst of these songs for free worship, as he's used to doing on Sunday mornings. The best uses of this space come with instrumental explosions that feature organ, synths and of course, epic lead guitars, courtesy of producer Brandon Bee.
Title track "Reckless Abandon" finds a nice balance between the chill worship factor and the rock sensibilities Michaels and Bee bring to the table. Ashlee Ray's angelic harmonies are especially powerful on this song, as the lyrics once again tell of Jesus' love and salvation, and that the appropriate response is "reckless abandon."
"Church Cry Out" starts simply enough, with a Southern Rock kind of riff, but eventually explodes into a powerful exhortation to the Bride of Christ: "Church cry out / Let the world hear you shout / Raise your hands and praise the King." It's the kind of worship song that's more in the line of the psalms where it admonishes believers to raise their voices so everyone can hear.
Closing Thoughts:
Reckless Abandon is an unconventional record from an unconventional worship leader at an unconventional church in an unconventional city. That said, it may take a few listens from some people to really understand the heart and the audience for which this EP is intended. At times, some of the lyrical themes can change unexpectedly, but rather than see that as disjointed or unfocused, it's the outpouring of a grateful heart that has so much to be thankful for. Musically speaking, Brandon Bee and Michaels have put together something that is refreshingly instrument-driven, and reminiscent of a former time while attempting to bring something new to the table.
If you're tired of the flavor of the day kind of worship, and are looking for something a little more gritty and edgy and raw--but still worship!--Reckless Abandon by Tray Michaels is the oasis for you.
MarcusHathcock_NRT's Music and Book Reviews 
