Innocence & Instinct
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RED Even though Red found its initial footing in the Christian market and remains unashamed about its faith, the heavy rockers are now bonafide mainstream superstars. Following 2006’s GRAMMY-nominated End...
Comatose Comes Alive: Disc 1
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Skillet Packing over 10 years of rock into its first CD/DVD combo, Skillet releases Comatose Comes Alive. Expertly documenting a live concert from the band’s 2008 tour, the four-piece outfit fills a set list (or...
New Surrender
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Anberlin Though Anberlin always had a foot in the secular scene (frequently performing in clubs and becoming staples on the “Vans Warped Tour”), the modern rockers are now part of the major label leagues, making...
A MAJOR BREAKTHROUGH FOR THESE MAINSTREAM MEGA-STARS | Posted February-12-2009
Even though Red found its initial footing in the Christian market and remains unashamed about its faith, the heavy rockers are now bonafide mainstream superstars. Following 2006’s GRAMMY-nominated End of Silence, the group toured with the likes of Sevendust, Buckcherry, Three Days Grace, Puddle of Mudd, Staind and Seether, while also scoring a slew of secular singles. No wonder anticipation for the band’s second CD has been building to a fever pitch, which unlike most sophomore dips in the road, actually surpasses the crossover act’s exceptional debut.
Much of the expansion in sound and lyrical substance is likely the result of refinement on the road, which is noticeable in the ultra-tight riffs of “Fight Inside” and the bellowing banter of front man Michael Barnes with his conscience during the hardcore-tipped “Death of Me.” Even with the pummeling performances, Red maintains its melodic charm, with “Mystery of You” earning additional strength from a stirring string section. Come “Never Be the Same,” the guys showcase their acoustic and stripped down side, but still present plenty of power (similar to Skillet’s recent material).
Fans of ’80s icons Duran Duran will certainly find a cover of “Ordinary World” incredibly inventive, while those who were born well after that track first hit the airwaves can still identify with its message of striving for societal utopia. Of course, Red’s grounding in Christ still remains rock solid as evidenced throughout the cleansing cries of “Confession (What’s Inside My Head)” and the piano-bathed prayer of surrender “Take It All Away.” It’s a fitting way to start a new year that not only finds the foursome exploding with intrigue across all 10 tracks, but potentially expanding its ministry platform even wider than the first time around. –Andy Argyrakis
This review has been reprinted on NRT with permission ChristianMusicPlanet.com. Click here to visit ChristianMusicPlanet.com today!
DIGGING DEEPER WITH DELIBERATENESS | Posted November-24-2008
He may have just turned 30 years old, but Jeremy Camp is just as passionate or perhaps even more on fire for impacting the lives of young people than he was during pre-artistry days of youth ministry. That’s certainly an admirable place to be, especially for a singer/songwriter who’s shattered sales and singles’ records. Though rather than grasping for the next notch in his belt, Camp’s new album, Speaking Louder Than Before, also makes it evident that faith and family always comes first.
In fact, that sentiment is immediately apparent on the vibrant Brit-popper “Slow Down Time,” which is stylistically reminiscent of Lifehouse’s recent material as it talks about unplugging from all outside distractions and sitting before the Lord’s throne in praise. The string-enhanced ballad “There Will Be a Day” hints of someday being able to carve out that time, concurrently encouraging those going through strife of any magnitude that there’s hope at the end of the heartache. For those who do choose the ultimate life source, the easygoing acoustics throughout “Healing Hand of God” provide a glimpse of that freedom, while the sputtering rocker “I’m Alive” is loaded with spiritual liberation.
The orchestrated rocker “I Know Who I Am” certainly applies to any age group, but is especially empowering for young people trying to find their path in life and facing several pressure-filled snares along the way. “Capture Me” also talks about abandoning any part of one’s identity that isn’t clothed in Christ with the soft-spoken “Surrender” bringing those reflections full circle as an ode of all-out abandonment. No matter what the topic, Camp once again grows as a writer and vertically focused entertainer whose continuously developing testimony is just as inspiring as the reflections sewn across Speaking Louder Than Before. –Andy Argyrakis
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
A SURPRISING MUST-BUY COLLECTION FROM THE CHRISTMAS MUSIC QUEEN | Posted November-24-2008
Amy Grant knows Christmas. After all she has been recording and performing holiday music for 25 years, the equivalent of a lifetime (albeit a young one). And over the course of three holiday records (one Gold, one Platinum and one triple Platinum!) her voice has become synonymous with the Christmas season, not only in gospel music but also in the broader scheme of American music.
Selecting 14 of her favorite tracks from her popular holiday catalog and recording four new ones, Amy releases her fourth seasonal CD, The Christmas Collection, a surprisingly cohesive anthology. Sequenced smoothly alongside her older gems, Amy pairs up with longtime producer and friend Brown Bannister (MercyMe, Steven Curtis Chapman) to record the new cuts, rounding out the substantial 18-song set.
“Jingle Bells,” a la Barbra Streisand, opens the disc, introducing this theatrical arrangement to a new generation, while “Count Your Blessings” (from Bing Crosby’s White Christmas) adds a sentimental vintage pick to her already extensive list of recorded classics.
But on the top of every Amy-lover’s wish list is a couple of Christmas originals, and Grant does not disappoint. Enlisting her husband/country superstar Vince Gill as co-writer and guitarist, Amy croons on the vintage “Baby, It’s Christmas.” And “I Need a Silent Night” enlists the penmanship of “Breath of Heaven” co-writer Chris Eaton on a contemporary contribution that includes a tender Scripture reading by Grant’s 7-year-old daughter Corrina Gill.
As uneasy as fans might be about another “best of” from Grant, The Christmas Collection is a truly definitive compilation. Thoughtful sequencing, new packaging and liner notes and sensitive mastering create a seamless archive of songs that now sound even fresher then the originals. Forget dusting off the old records and cassettes. Purchase a copy of The Christmas Collection. The best memories are all right here. –Andrew Greer
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
A GENERALLY COMPREHENSIVE CAREER SPANNING COLLECTION | Posted November-24-2008
With over 10 years of recording and touring under its belt, Switchfoot is more than ready for a greatest hits compilation. The most exciting part about The Best Yet is it not only the fact it compiles all the monster hits from the band’s Columbia Records crossover years, but it also includes a handful of tunes from its often overlooked re:think era. Throughout a generous 18 tracks, the group’s evolution from a simple surf-pop band to ingenious alternative act is apparent, with Jon Foreman’s provocative lyrics steering the well-oiled ship the entire time.
“Dare You To Move” is a fitting opening given its anthemic presence, followed by one of the most memorable guitar riffs in Christian music history—“Meant To Live.” This trip down memory lane should also be applauded for the power surging “Stars,” the grimy alternative grinder “Oh! Gravity,” the empowering ballad “Leaning To Breathe” and the carefree sing-a-long “Company Car.” Other crests include the electronically enhanced “This Is Your Life,” the distortion drenched “Dirty Second Hands” and the well-preserved early grunge track “Concrete Girl.”
The disc also features the band’s recent cut “This Is Home,” an entrancing power ballad first found on the soundtrack to The Chronicles of Narnia: Prince Caspian. However, that’s the only hint of Switchfoot’s future direction, as no additional new songs are included (despite the tradition of at least a few upcoming tunes on most retrospective discs). And even with the otherwise stacked track listing, there are a few disappointing retro omissions, including the bubbly “Chem 6A” and even more memorable “New Way To Be Human.” Of course, die-hard fans probably already own those singles and neither are absolutely essential to The Best Yet banner, which makes this otherwise comprehensive project an indispensable single disc overview of Switchfoot’s extraordinary career thus far. –Andy Argyrakis
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
THE SPIRITUAL SIDE OF THE STREETS | Posted November-24-2008
Even though Lecrae honed his rhyming chops on the streets of Houston as a teenager, the rapper never succumbed to the gang-infested lifestyle. Instead, he accepted Christ at 19, focused on refining his skills on the mic and channeled that creative energy into the debut disc After the Music Stops. Along the way he also co-founded ReachLife Ministries (geared toward culturally and spiritually relevant outreach to young people in local communities) and also became the first ever Christian rap CD to debut atop Billboard’s Top Gospel Charts with the release of the brand-new Rebel.
That position is easy to understand given the attention grabbing beats and even more insightful lyrics throughout the album, starting with the call-to-arms cut “Don’t Waste Your Life,” wrapped around slick programmed beats and accompanying rap action from Dwayne Tryumf. “Indwelling Sin” is all about resisting sexual and substance-related temptation, as Lecrae cleverly trades verses with his inner conscience, consistently choosing Christ over the world’s aura.
“Change” is a soulful, keyboard-infused dance track that further talks about turning a shattered life around, while “Fall Back” (featuring Trip Lee) is an old-school, LL Cool J-like romp that also echoes grace and renewal. Though the production throughout “I’m a Saint” isn’t as rich as it should be, the militant chorus is especially memorable and sure to inspire in a similar fashion as the above in terms of turning away from Satan. “Beautiful Feet” shifts the focus toward reaching out to the poor and downtrodden, rounding out the record with a proactive approach that can practically put a newfound or renewed faith into action. –Andy Argyrakis
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
AN EMOTIONAL CROSSOVER SURE TO YIELD SUPERSTARDOM | Posted November-24-2008
Though Anberlin always had a foot in the secular scene (frequently performing in clubs and becoming staples on the “Vans Warped Tour”), the modern rockers are now part of the major label leagues, making the jump from indie staple Tooth & Nail to Universal Republic. Outside of giving the guys worldwide exposure, signing on the dotted line also made way for all-star producer Neal Avron (Fall Out Boy, Yellowcard, New Found Glory), in turn finding Stephen Christian & Co. at the top of their game.
Even with the marketplace shift, Anberlin is arguably more expressive about its faith than ever before but interjects stories of spiritual inspiration with remarkably effective poetry and phrasing, which works well with any audience. “Burn Out Brighter (Northern Lights”) boasts lines like “Live, I want to live inspired/I want to die for something/Higher than myself” over an insanely catchy guitar line and Christian’s sky-high, Morrissey-like range. “Breathe” is a textbook acoustic ballad, sending chills through listeners with every epic twist and phrase of renewal (“Can’t return home who I was before/I can finally breathe/Suddenly alive”).
The anthems keep coming at breakneck speed, from the forceful and striking “The Resistance” to the entrancing “Blame Me! Blame Me!” to the lush melodic relief of “Retrace.” The childhood recollection of “Younglife” is artfully spun pop candy. “Haight Street” is a vibrant dance rocker in all its hand-clapping glory, while “Disappear” is the new wave era re-spun with Anberlin’s increasingly distinctive alternative quality. Long story short, New Surrender is hands-down one of 2008’s most essential albums to own and is sure to position Anberlin as much deserved cross-cultural superstars. –Andy Argyrakis
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
SKILLET PACKS A PUNCH ON LIVE CD/DVD COMBO | Posted November-24-2008
Packing over 10 years of rock into its first CD/DVD combo, Skillet releases Comatose Comes Alive. Expertly documenting a live concert from the band’s 2008 tour, the four-piece outfit fills a set list (or two) with pure, sweaty rock from its best-selling seven record discography, focusing the bulk of the attention on the band’s last two releases, the GRAMMY-nominated Collide and nearly-Gold selling Comatose.
Issuing a string of No. 1’s to radio over the years, Skillet uses popular tracks (“Rebirthing,” “The Last Night”) to provoke the crowd in singing word-for-word the entire night. As for band classics (“Best Kept Secret”), Skillet doesn’t disappoint. Mixing in a few tunes from the early days adds to the fire and is sure to stoke the thousands of “Panheads” (a nickname for Skillet diehards) and disciples of Christian rock alike.
Recorded at the historic Tivoli Theatre in downtown Chattanooga, Tenn., an unusual pick for a screaming Skillet show, the two-tiered seating and ornate backdrop create a provocative visual experience. Synced lighting, a balanced stage and Cooper’s commanding presence translate on DVD, while special effects and post-production miracles make the final footage as stimulating as the quartet’s pounding performance.
Smoking with rock riffs and alternative edge, Skillet’s performance is so tightly executed it almost substitutes for the related studio recordings, giving the listener both the production of a studio project and the sweat equity of a live show on one disc.
The CD/DVD comes enhanced with six acoustic tracks and music videos for “Rebirthing,” “Whispers In the Dark” and “Savior” as well as behind-the-scenes footage, making the single CD purchase price more than worthwhile. –Andrew Greer
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
POISED FOR THE MODERN POP MAINSTREAM | Posted September-29-2008
Indie artist Sarah Sadler wants fans of her self-titled debut on Essential Records to realize two main ideas when checking out her current collection. First off, the acoustic pop/folk soundscapes are much more mature and artfully swung than that electronica-laced initial album. Plus, Where It Started isn’t meant to be an album for the core Christian market, but rather an additional foray into the mainstream following her soundtrack success to Just Married (starring Ashton Kutcher and Brittany Murphy).
The singer/songwriter generally excels on both fronts, starting with an inviting sound reminiscent of Sixpence None the Richer’s Leigh Nash, New Zealand newcomer Brooke Fraser, and at times, a Detours-era Sheryl Crow. Her vocals are in glorious form on the sunny “Runaway” and the peaceful “Freedom,” while producer Gary Sadler (a famed songwriter in his own right and also Sarah’s father) aptly taps into organic guitar strums and the occasional folk flavoring. Though there could be a bit more variety throughout the 12 tunes (such as a straightforward ballad or at least one intense pop/rocker), all are immediately pleasant and charming.
Sadler shows additional prowess on lyrical planes, starting with the empowering “Get Yourself Together” or her desire to move forward amidst setbacks throughout “Pedaling Backwards.” The 25-year-old also touches on many meaningful issues for the post-college crowd, especially on “Unspoken,” which addresses someone carefully gauging the status of a romantic relationship. Considering her spiritual perspective permeates these ideas without going into overdrive, Where It Started simultaneously expands the minds of the mainstream masses on a level which they can relate, while giving faith-based listeners something a little left of center but still satisfying to sink their teeth into. –Andy Argyrakis
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
LABEL DEBUT CONFIRMS BRILLIANT TALENT OF GUNGOR & CO | Posted September-29-2008
The move was inevitable. In fact, it’s surprising it took this long for Michael Gungor and his band to find a label home. The group’s independent disc wowed with its expansive worship songs and strong musicianship, placing Gungor on the fast track to Christian radio and church worship sets everywhere. Now, Brash Music (home to Aaron Shust) stands ready to introduce the Colorado band to the masses.
Ancient Skies kick starts with “Say So,” one of the newer tracks by Gungor not previously released. It’s an attempt at a rousing number that falls short with an overly churchy anthem of “let the redeemed of the Lord say so,” a King James sort of statement that fails to connect in the way it was intended to. This is unfortunate because impatient listeners will miss the beauty and brilliance offered here on occasion.
“Be Praised” should be the opening act, as the triumphant, epic anthem builds and breaks perfectly alongside its vertical statements. “Giving It All” relies on strong pop sensibilities to convey a message of abandonment to God. The title track stuns with its creation-puts-us-in-awe balladry and is a sure-fire AC hit (think a stronger “God of Wonders”).
Gungor & Co. also stretch their wings throughout the album, never more so than on “White Man.” The surprisingly titled song treads into Derek Webb territory, although it lightly and playfully guides the listener through statements of “Atheists and charlatans/Communists and lesbians/And even ole’ Pat Robertson/O God, He loves us all/Catholics or Protestant/Terrorist or president/Everybody… He loves us all.” It’s a fantastic, simple song of love, of hate and of holding a proper perspective.
The independent release made it clear, and this studio effort only bolsters the main idea: Michael Gungor stands as a brilliant talent. Ancient Skies showcases both God’s glory and this band’s expertise. –Matt Conner
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
ALL IN THE FAMILY | Posted September-29-2008
Even though the members of Remedy Drive all have a natural chemistry with one another given their bonds of literal brotherhood, David, Paul, Phillip and Daniel Zach were performing over 200 shows a year in and around Lincoln, Neb., long before scoring a record deal. And due to a bigger budget and additional contacts, the guys have now taken their progressive alternative rock ruminations to an even higher level, thanks in part to all-star (or even more accurately, All Star United) producer Ian Eskelin (Krystal Meyers, Stellar Kart).
“Daylight” marks one of the disc’s earliest strengths, with atmospheric electronics cleverly winding around charging guitars and David’s rough-neck/falsetto vocal trade-offs. “What Happens (At the End”) boasts particularly potent melodies and unpredictable piano arrangements that ramp up only to stop suddenly, while “Get To Know You” is shimmering synth-pop at its textbook peak. The ebb and flow between soft ethereal touches and several power surges mirror insightful mainstream acts like Muse or The Bravery, but never at the expense of the secular copy cat syndrome.
Remedy Drive also excels lyrically with “Valuable,” boldly assessing Christ’s blood shed for our salvation and “Belong With You,” addressing the difference between happiness and true joy. That latter theme also intersects with someone wanting to consume worldly wealth throughout “All Along,” though they eventually reach a resolution that only holiness can fill the void. In fact, Daylight Is Coming is so provocative on all planes that listeners will spend much less time reasoning why Remedy Drive is so tight and simply rejoice over the end result. –Andy Argyrakis
This review has been reprinted on NRT with permission from CMCentral.com. Click here to visit CMCentral.com today!
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