Opposite Way
by
Leeland This album which Leeland said was a call to our generation is in fact a great call. No other cd has brought me closer to God than this one. This cd has a big opportunity to become the best cd of the year.
The...
The Altar and the Door
by
Casting Crowns Some people say that this album was nothing compared to lifesong. But in my opinion this cd's message is stronger than lifesongs. In our generation today, we need cd's like these to worship and praise...
The Face Of Love
by
Sanctus Real This song is one of the most played on my ipod right now. Its message is so true and needs to be shared with the world. As lazy as our generation is today, we need to understand that God can use every...
A Great Call. | Posted June-29-2008
This album which Leeland said was a call to our generation is in fact a great call. No other cd has brought me closer to God than this one. This cd has a big opportunity to become the best cd of the year.
The song "Opposite Way" is one of the greatest songs ever to be heard by the ears of humanity. The message in this single song is such a great message that you can't just play it one time but several times.
Overall this album is almost at perfection. With such a great voice and sound, Leeland is destined to become one of the greatest Christian bands our world has ever seen or heard.
sdf | Posted June-28-2008
Classic rock riffs, swirling drums, monstrous hooks, and undeniably catchy choruses … hints of old school progressive rock mixed in with modern alternative flourishes … touches of classical influence as swelling strings intersect with sonic adrenaline rushes. It's indeed a fusion unlike any other, marking the latest chapter in the continuous evolution of Skillet, whose moniker couldn't be more fitting for their explosive new Lava/Atlantic/Ardent/SRE Records release, Comatose.
The project follows Skillet's 2004 Lava/Atlantic debut Collide, which launched the group into the mainstream with the single "Savior," and garnered the quartet a prestigious nomination at the 47th Annual Grammy Awards in the "Best Rock Gospel Album" category. Collide went on to become their best-selling project to date, with over 200,000 units sold, while the band played some 200 dates a year—including tours with the likes of Three Days Grace, Saliva, Shinedown, and 12 Stones—in the process becoming one of the hardest working, heaviest rocking, boldly witnessing, and most broadly appealing acts of its generation.
"We're proud of where we've been in the past, but I feel like this is our strongest record," says vocalist/bassist John Cooper of Comatose. Recorded at Chicago Recording Company (Smashing Pumpkins, Michael Jackson, R. Kelly), the album was co-produced by Brian Howes (from famed Canadian TVT band Closure and Hinder's hit debut) and the band's John Cooper, and mixed by maestros Chris Lord-Alge (Green Day, Hoobastank, Bon Jovi, P.O.D.) and David Bottrill (Tool, Staind). "There are so many different influences that it won't just be about rock audiences or metal audiences," notes Cooper. "I think there's something here for everybody."
That's not to say that the group has watered down its message or cheapened its sound by a single cent, but rather stepped out on several limbs to continue its influence on the mainstream, while holding firmly to its faith-based roots. Pop in the project for a matter of seconds and it's obvious Skillet has raised the bar yet again, building off the refined musicianship found on Collide and taking it to even more jaw-dropping extremes. A case in point is first single, "Rebirthing," a complex but accessible amalgamation of piercing strings and humongous power chords calling all to come alive in Christ. In sharp contrast, but equally compelling are tracks like "The Last Night," "Say Goodbye" and "Yours To Hold," all oozing with ethereal orchestration and insanely infectious sing-a-long potential.
On the other side of the Skillet, Comatose shows the band flexing its experimental muscles, adding several piano-based and progressive-influenced pieces. A careful dissection of "Whispers" unveils nods to the current prog crop via the channels of Yes, while "Better Than Drugs" (focusing on an eternal destiny rather than earthly gain) is a delightfully schizophrenic barnburner that is one of the disc's most aggressive displays. "The Last Night" takes a more delicate twist, merging John's vocals with his wife Korey Cooper's keyboard cadences.
"It's a new era for both Atlantic and Skillet," exclaims Andy Karp, head of A&R for Atlantic Records. "It's the first record where we've really been one on one with the band, and it's the latest step in our unique journey together. I've been at the label seventeen years and we're known for having so many great rock n' roll bands: Led Zeppelin, Genesis, Yes, Bad Company. There really aren't a lot of labels that have that kind of pedigree for rock acts, and Skillet is yet another in a long line of great bands."
Cooper and company can certainly relate, citing several from the label's lineage as influencers since its infancy. "Growing up, I was a prog freak and loved bands like Yes and Dream Theater," he confirms. "I also grew up with my mom as a classical piano teacher and took lessons for eight years, along with playing in the marching band and symphony. It's funny because every once in a while there was a touch of that on Collide, but until recently, I didn't see what that background had to do with rock music. On this record, we were able to make it work structurally with the piano and strings, plus there's enough prog to make me happy."
Aside from Skillet's musical strides, Cooper's songwriting has expanded to cover a vast range of topical territories, some of which follow spiritual and socially conscious ideals, while others vulnerably mirror his personal life and struggles. Take, for instance, the aforementioned "The Last Night," which talks about someone considering suicide after living life in despair and not having support from their parents. Rather than calling it quits, a supportive friend reminds of God's unconditional love and they're eventually talked down from that ledge. Even closer to home for Cooper is "The Older I Get," which picks up after his mom passed away, tracing the rocky relationship he had with his dad and the eventual forgiveness they reached.�
"My dad got remarried two months after my mom died, and my stepmother's husband had also passed away a few months earlier," he recalls of the admittedly faith-tested time. "It was a really bizarre situation and they didn't get along, which was also the point when my dad and I started fighting. From the time I was fourteen or fifteen, I don't remember having a single conversation with him for about four years that didn't have to do with fighting. But a lot has mended since then and we've been able to move on. You can only go through life so long living in regret, and while those situations certainly affected me, I don't hold onto the anger anymore."
Those introspective visions tie in with the group's overall goals of promoting positive messages that will give fans something to digest beyond pre-conceived clichés or trite topics, and open the gate for spiritual seekers.
"The funny thing about Jesus is that He wasn't just all talk, but as much or more about relationships and communicating to people in a relatable way, as He was solely preaching to them," he observes. "The way we tend to evangelize in today's Christian society is actually often times much different than the way Jesus reached out. As I was writing for this record, I realized bands like Linkin Park and Staind and Korn were being more relevant to people than I was. We prayed about these sessions, and we knew this is the direction God was leading us. It allows us to reach out to people who've maybe been turned off by what they think is 'Christian music,' which may get them out to a concert to hear even more of our message. I'm very passionate about evangelism, but love begets evangelism and we want people to know we care about their needs in a practical way."
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[To Know That You're Alive] Kutless
To Know That You're Alive �(BEC Recordings)
Released June 2008
By Russ Breimeier
Sounds like … Nickelback, Jeremy Camp, Daughtry, Red, Disciple, and Skillet with the occasional pop ballad amid the band's heavy-but-melodic rock style.
At a glance … the sixth major release from Kutless finally shows some signs of development in the band's sound and songwriting, but they still demonstrate a tendency toward overused Christian rock themes and formulas.
Track Listing
1. The Feeling
2. Sleeping City
3. To Know That You're Alive
4. The Disease and the Cure
5. Complete
6. The Rescue
7. Promise You
8. Guiding Me Home
9. Overcoming Me
10. I Do Not Belong
11. Loud
12. Dying to Become
13. You �
Contrary to what some of the band's most dedicated fans believe, Christian Music Today has given generally favorable reviews to Kutless (their flimsy worship album notwithstanding). Steeped in post-grunge pop-metal back when it was all the rage, this band has still remained highly popular, having sold 1.5 million albums since their 2002 debut. But then, the problem with Kutless has never been a matter of sounding good. Much like Nickelback, the band's polished rock style has become passé in six years time. Is it too much to expect some growth from Kutless?
Interestingly enough, Kutless also thinks they're ready for growth. In a letter included with their press kit, the band recognizes that they've had their share of high points and mistakes in their career. Now that they're older—and presumably a little wiser—they're finally making some significant changes in an attempt to go beyond the "standard Kutless record" with their sixth major release in six years, To Know That You're Alive.
For starters, the band is now writing more songs together, rather than relying solely on lead singer Jon Micah Sumrall. New guitarist Nick DePartee brings his skills to the music, while bassist Dave Leutkenhoelter and drummer Jeff Gilbert continue to gel as a rhythm section. Additionally, Kutless has finally made the switch from longtime producer Aaron Sprinkle to a rather surprising choice: Pete Kipley, best known for his work with MercyMe and The Afters. Not exactly a guy known for helming hard rock projects, but then again, it proves a good fit considering that Kutless embraces more melody and strings on this album, even recording part of it at the famed Abbey Road Studios in London.
Never fear, fans. Alive offers some of the band's most hard-rocking material to date, such as the hard-hitting "The Disease and the Cure," a song that points to Jesus for relief from sin and temptation. "Overcoming Me" also has some serious rock drive to it, not to mention a little synth hook uncharacteristic of the band's sound.
At the same time, Kutless introduces a more melodic, mid-tempo rock feel with "Complete," an anthem of surrender delivered with piano and strings—the sort of song MercyMe and Sanctus Real would more typically perform, yet the change in feel is not unwelcome to this band's repertoire. Also, the worshipful and flowing album closer "You" is pure pop, and has more texture than the more routine acoustic ballad that typically finishes similar projects.
Kutless even shows a willingness to experiment beyond simple rock and pop conventions, with mixed results. Their instrumental "Sleeping City" hearkens back to the ambience heard on the band's 2004 release Sea of Faces, and might have been interesting and meaningful if it lasted more than a minute or were coupled with another song elsewhere on the album (and not up front). Far more promising and pleasing is "Dying to Become," which toys with newfound musicality all around, from the big effects-heavy drumming at the start to the beefy guitar solo in the middle.
If only the band were as adventurous with their songwriting, the one area where Kutless still sounds like a novice fresh off the youth group tour circuit, relying on simplistic themes and phrasing that has grown formulaic in Christian rock. If it weren't for the strings underscoring their sound, "The Rescue" is the sort of post-grunge power ballad about crying out to a Savior that we've heard time and again on CHR stations for the last five years. Their equally melodic power ballad "Guiding Me Home" is also a bit too familiar and clichéd sounding in its expression of comfort and direction through Jesus. On the other end of the spectrum, "Loud" is the usual "how can we be silent" rocker, while "The Feeling" is a two-minute throwaway that's little more than a "let's get together and rock" show opener.
Two other songs contrast where Kutless falls short and where they excel. The title track is meant as an encouraging rock ballad about appreciating what God has given us as we endure life's trials, but the song's limited scope only offers empathy for pain without ever introducing the intended theme of thankfulness. Contrast that with the far more effective "Promise You," a powerful anthem about overcoming domestic abuse. This song explores the subject with themes of empowerment and forgiveness, relating the hurts without sounding bitter and pointing victims to Jesus without sounding trite.�
There are certainly some glimpses of growth here, but the band's slight modifications fail to amount to significant change. In the few places where the stylistic shifts are most noticeable, it's as if Kutless has stopped emulating their past work, only to resemble what peers like Red, Skillet, and Disciple have been doing for years. At least Kutless recognizes the need for change, and makes some good moves with To Know That You're Alive. Even so, true growth should be reflected more in songwriting than production.
Awesome. | Posted June-28-2008
This song is one of the most played on my ipod right now. Its message is so true and needs to be shared with the world. As lazy as our generation is today, we need to understand that God can use every one of us no matter who we are or where we are from.
Awesome. | Posted June-28-2008
Some people say that this album was nothing compared to lifesong. But in my opinion this cd's message is stronger than lifesongs. In our generation today, we need cd's like these to worship and praise God.
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