Searchlights
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Abandon (*Note* This review was written within a couple days after this came out, so when I say "over the past year," I mean in the year preceding the album's release.)
Over the past year, Abandon has released...
Birds & Cages
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Deas Vail I don’t think I’ve heard of any band that sounds quite like Deas Vail. Their style is a sort of soft alternative rock, largely driven by a piano and solid but not too powerful electric guitar, and their...
Forget And Not Slow Down
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Relient K If you know anything at all about Relient K, you would certainly know about their witty and occasionally outlandish lyrics and punk rock-like sound. They’ve been about as innocent as can be all throughout...
Anberlin has never made more excellent music than this, it's just a shame the lyrics can't keep up with the musical quality. | Posted January-04-2011
Over the past couple years, Anberlin has made a lot of headway into the realm of popularity. After their 2008 release New Surrender, some fans thought the band had “sold out” due to the poppy vibe that permeated the album, but at the same time hit singles “Breaking” and the re-recorded “Feel Good Drag” propelled the band into more mainstream popularity than ever before. In 2010, the pressure was on as Anberlin entered the studio to record Dark Is the Way, Light Is a Place, which needed to satisfy fans who were gained by their previous release and also those who were turned off by it, and the result is a short but sweet work of art that is the band’s best recording to date musically, but leans toward the weak side lyrically, finding itself somewhere between the darker vibe of 2007’s Cities and the poppy, upbeat feel of New Surrender.
The album kicks off with one of its strongest tracks in the fantastic rock anthem “We Owe This To Ourselves.” Lyrically the apparent self-centeredness bugs me (because we really owe nothing to ourselves and everything to our God), but musically it’s simply excellent. The energy and epic drumbeats give it a powerful fist-pumping sort of feel. Lead single “Impossible” follows as a song that almost sounds like a dance track of the past, but the vibe, guitar work, and vocals are totally Anberlin, and the whole group is clearly right in their element on the catchy and fun track.
“Take Me (As You Found Me)” and “You Belong Here” are strong pop ballads despite the forgettable lyrics that turn them into fairly cliché love songs; in fact, I think both of them could have been much stronger lyrically if the song titles’ concepts were applied more to the relationship between God and man. However, “You Belong Here” still makes itself memorable with its whimsical piano opening and lovely chorus. Both songs offer Stephen Christian opportunities to shine vocally in a softer light, showcasing what may be some of his finest singing yet recorded, while the track in between those two, “Closer” reveals another side to his voice that’s harsher and a little more intense, but equally phenomenal. Lyrically this one is also on the weak side, resorting to a bare-bones chorus that mostly repeats the song’s one word title a few times, though it’s still thoroughly enjoyable and well done musically as a harder-hitting rocker.
The finishing chord of “Closer” then gives way to the pounding drumbeats that open up “Pray Tell,” which is possibly the band’s best song ever, musically speaking. It’s strikingly unique and creative, while still feeling just enough like an Anberlin track to fit. The awesome drums never let up as they seem to take the lead throughout the song, and Christian’s superb vocals and some solid guitar work push the song into even further excellence. “Art of War” follows as one of the most depressing songs on the album lyrically (“Because of you I’ll never write another love song”) but musically it’s notably unique and atmospheric, though in a very different way than “Pray Tell.”
“To the Wolves” continues the depressing lyrical content about betrayal in a relationship, but manages to succeed musically in being a dark and effective rocker, as Christian growls “To the wolves, you left me to the wolves.” Acoustic ballad “Down” follows with little distinction to bring to the table musically or lyrically, especially when compared to past Anberlin masterpieces such as “The Unwinding Cable Car,” though it’s fair enough in its own right and still gives off the intended feel.
Finally, the album closes with “Depraved.” For a long time I think I misunderstood this song’s lyrics, as they seem to make excuses for depravity and say, “You’re not a slave, so get off your knees,” when in fact everyone is a slave to someone or something, whether it be God or some earthly thing that reigns in His rightful place. But as I took it less at face value and thought about it more, the lyrics seemed to take on a less sketchy meaning, like maybe they’re just saying you’re not a slave to sin, so stop worshiping it, or something like that. But unfortunately, it’s very short on lyrics and resorts to repeating the same lines over and over, making it hard to fully develop the song’s ideas. Musically the song is definitely epic and atmospheric, but it isn’t as coherent as it should be, making it a weaker closer than the band’s past two finishing songs.
When it’s all said and done, Dark Is the Way, Light Is a Place is quite simply a fantastic piece of musical excellence in the world of alternative rock music. The weak and often cliché lyrics definitely hold the album back from realizing its full potential, but the music is so well crafted and the performance is so rock solid that it’s hard to think very lowly of this album. Once you take into account the fact that there are only 10 tracks (making this the shortest Anberlin album yet), it further deepens the partial disappointment, but then again, those 10 songs are so sweet musically that it’s hard to ignore the album’s high level of overall quality. For me, it’s hard to love or hate Anberlin’s latest work, but Dark Is the Way, Light Is a Place is still a wholly worthwhile album for Anberlin fans or anyone who just wants some quality alternative rock music.
Musically and lyrically, Relient K's latest work is easily their best. | Posted January-04-2011
If you know anything at all about Relient K, you would certainly know about their witty and occasionally outlandish lyrics and punk rock-like sound. They’ve been about as innocent as can be all throughout their career, but never afraid to admit to personal faults and painful mistakes. The band’s sixth and latest album, Forget and Not Slow Down, finds Matt Thiessen and the group in a very different place than they’ve ever been before, both musically and lyrically, for a record that’s all about perspective… and making a sound as catchy as humanly possible.
I think it’s only fair to get this fact out of the way before going any further: Forget and Not Slow Down is a breakup album. Apparently, Matt Thiessen (the band’s lead singer) broke up with his fiancé sometime between when he wrote the band’s previous record and this one. Many of the songs on Forget represent what he went through, so the context is certainly helpful in interpreting his lyrics. But what makes this album unique is that it’s not about wallowing in self-pity for the pains of the breakup: it’s all about perspective, and realizing that “Without you I’m still whole, you and life remain beautiful,” and “If a nightmare ever does unfold, perspective is a lovely hand to hold.”
What’s also so fantastic about the album’s lyrics is how they can easily apply to just about any rough situation in life. There are songs about moving on despite a shameful past (“Forget and Not Slow Down”), putting difficult issues in perspective (“Part Of It”), and realizing that pride is most likely the cause the fall (“Sahara”). The clever songwriting makes all of these songs memorable and easy to relate to even if you’ve never even been in a romantic relationship, which makes this record all the more personal and brilliant.
There are lyrical highlights that must be specifically mentioned, too. The title track is pretty much the “Who I Am Hates Who I’ve Been” of the record, as Thiessen sings “I could spend my life just trying to sift through what I could’ve done better but what good do what-ifs do?” It’s an encouraging song like no other that the band has written, because it’s a powerful reminder that despite past mistakes, you can and should seek forgiveness and reconciliation and continue moving forward in life. “Sahara” is a potent metaphor about how pride comes before a fall as depicted by a lion that has apparently lost his throne (“Was it the lying or the pride that brought him down?”). “Part Of It” puts things in perspective by remembering that we are all a part of something greater than ourselves, “Therapy” is a refreshing reminder to seek direction from God, and “If You Believe Me” seems to encourage submission to the truth, no matter how difficult it may be (“If you believe me, it means you have to disbelieve yourself.”)
Musically, Forget is quite noticeably different than other works from Relient K. The guitars sound especially organic, making each song sound wonderfully alive. A heavier emphasis is also placed on the piano, especially in the catchy “I Don’t Need a Soul” and the powerful, moving second half of the album closer “This Is The End (If You Want It).” Most of the songs are outrageously catchy in some way, whether it be the epic harmonies in the bridge on “Sahara” (featuring some phenomenal guest vocals from Matt MacDonald (The Classic Crime), Tim Skipper (House of Heroes), and Aaron Gillespie (The Almost)), the delightfully entertaining “Candlelight,” or the plentiful acoustic guitar picking of “Savannah.” And then there’s “Over It,” which may be the album’s weakest track, but successfully employs some of the types of sound that made the band’s unique Nashville Tennis EP (better known as the first half of The Bird and the Bee Sides) so successful. Musically, Forget is easily Relient K’s strongest work yet because they have found a way to be catchier than ever while also making a sound that really comes alive.
At the end of it all, Forget and Not Slow Down proves to be a simply fantastic album from a band that already has a great track record. In my opinion it’s the best work from Relient K to date for the life and catchiness of the music and personal yet relatable lyrics. It’s sad that it took such a difficult situation in Thiessen’s life to bring about this record, but I think it’s safe to say that God uses heartbreak and sorrow to give us a new perspective that comes closer to matching His perfect view, because perspective is indeed a lovely hand to hold. I’m thankful that God has gifted these musicians to write songs like these that make me consider how to seek out His direction and perspective on all of life’s trials.
With a delightful and atmospheric sound, Deas Vail has made an excellent album in Birds & Cages. | Posted January-04-2011
I don’t think I’ve heard of any band that sounds quite like Deas Vail. Their style is a sort of soft alternative rock, largely driven by a piano and solid but not too powerful electric guitar, and their main vocalist, Wes Blaylock, sings in an extremely high register and boasts a remarkably strong voice in an unusually high octave. Birds & Cages is a great album as it boasts a number of strong tracks that fall right into the band’s distinct style and range from catchy, to epic, to anything in between, making a solid and unique album unlike anything else I’ve heard before.
The album starts off on a delightfully refreshing note with one of its best songs entitled “The Things You Were.” It’s refreshing both musically and lyrically, as it kicks off the album with a soft piano part that gradually grows into a soaring chorus. The song’s lyrics are also refreshing, as the Wes sings, “You were ordinary until you came and saved me. This is not what it seems, you’ve taken me by surprise and given me new life.” It makes me think of how God refreshes me by continually showing me how extraordinary he is, and how he’s there for those who haven’t yet found new life in him.
“Growing Pains” is a wonderfully catchy piece with a quick and lively guitar riff and a smartly offbeat-sounding chorus. It is also, like the track before it, a somewhat refreshing song in its sound. It’s one of the more entertaining songs on Birds & Cages, and also has a solid message. “What is life kept to ourselves, careful words composed? It’s a book upon the shelf, its story never told.” It reminds me to not live for myself, but to “live and die for anyone else” (as Anberlin says in their song “Burn Out Brighter”), to let my life’s story be told, and not let it gather dust on the shelf.
“Excuses” is instantly likable as a catchy drum beat kicks it off and a lovely guitar section comes in, followed by a soft verse and a very strong, rock solid chorus that declares, “Come on, come on, don’t wait until the damage is done! It’s gone when it’s gone, don’t you want to know what we could become?” Though the song lacks a bridge with lyrics in it, the chorus is worth repeating the extra time as it reminds listeners to not make up excuses, but to take the opportunities life gives them, to “chase the smoke of (their) guns” and live life to the fullest. Wes’ vocals simply soar through the chorus, making “Excuses” an especially powerful track.
Next up is “Cages,” which musically seems to fit right between “Excuses” and the following track, “Birds.” It mixes the catchiness of “Excuses” with the atmosphere of “Birds” for a song that, while undeniably solid, doesn’t quite match up to either track. However, it is notably unique, and still has a few standout moments.
“Birds” seems to suddenly change the mood of the album as an instantly moving piano part starts off the piece, continues into the verse as Wes’ vocals come in, and softens up for his voice to soar through the incredibly atmospheric chorus. The entire song has a powerful sense of atmosphere and creates the kind of feeling I get when something is so epic it almost gives me chills. The funny part of the song, especially the chorus and bridge, is that Wes’ voice almost sounds like a bird as he sings so high and powerfully, and sings plenty of “Oooh”s in the bridge. The bridge is also bolstered significantly by guest vocals from Matt Thiessen of Relient K. Overall “Birds” is the record’s strongest track that is sure to grab anyone’s attention.
As suddenly as the record changed pace for “Birds,” “Tell Me” shifts the tone into something that sounds fun and almost carefree. “Tell Me” is fun, though only 48 seconds long, and leads right into “Dance In Perfect Time,” which is yet another peaceful and refreshing song. The style is softer, though, and has a wistful sort of feel to it, which makes it entertaining and calming in its own way, and it ends by repeating the lyrics of “Tell Me” a few times. “Sunlight” follows and changes the tone yet again. The guitars come in a little harder and the chorus is catchy, making another solid track for the record as it seems to ponder the way people shy away from the light (“Sunlight is falling again, but it never touches us, because we cover our eyes and cover our fragile skin”). “Puzzles and Pieces” is next, showing Birds & Cages’ only legitimate weak spot. The song is nice and mellow, but fails to capture the same feeling as other softer songs like “Dance in Perfect Time.” The whole thing is slow and doesn’t really offer anything of substance, though it does have its moments.
Birds & Cages goes into its final three tracks with another more epic approach, kind of like “Birds” only in a different sort of way. “The Great Physician” is a truly powerful song, pleading for God to “take all of my pain” and listeners to, “Take your place under the hand of the Great Physician” because, “Hope will be there if you’ll listen.” It’s a song about the healing power of God, and how we just need to fall into his hands and trust him to take care of us. Other lines seem to ponder why we still struggle when we do trust God completely, though (“How can it be that we’re saved just to live with such shame?”) It doesn’t really answer the question, but rather leaves the listener to ponder it as the chorus fires up again. “The Leaper” and “Atlantis” finish off the record by taking listeners on a somewhat unpredictable, yet enjoyable and epic, musical journey. They don’t stand out as much as “The Great Physician” does, but they are still worthy finishing tracks.
Oddly enough, as I mentioned before, Wes’ voice somewhat resembles a bird in some places throughout the record. Though his voice might sound annoying to some listeners because of his higher register, it has grown on me the more I’ve listened to the album, and I think his higher octave contributes immensely to the band’s style and the feel of their music. There are a couple weak spots throughout the album (namely one part of “Atlantis”) but otherwise his voice is solid throughout. Laura Blaylock (keys) also has a great voice, and between her and Wes, the vocal section is very well taken care of. The rest of the band shows a solid performance as well, with Andy Moore (guitar) and Justin Froning (bass) carrying each song and Kelsey Harelson throwing out plenty of catchy and enjoyable beats on the drums.
Birds & Cages is, quite simply, an excellent album. Most of the songs are catchy, epic and atmospheric, or all of the above, and these qualities make for a thoroughly enjoyable listen. The first couple times I listened to it I only liked the tracks that immediately stood out (“Excuses” and “Birds”) but as I kept listening to it, each song grew on me at various levels; songs like “The Things You Were” and “The Great Physician” especially began to show their true quality the more I listened to them. Birds & Cages thrives on soft rock, catchiness, and atmosphere, all thrown together into a great package that’s wholly worth purchasing if you’re willing to give it a few listens to let it grow on you.
Abandon brings their two EPs together quite nicely. | Posted January-04-2011
(*Note* This review was written within a couple days after this came out, so when I say "over the past year," I mean in the year preceding the album's release.)
Over the past year, Abandon has released two EPs, each containing 6 songs. It seemed an odd release pattern, as the normal pattern would be to simply include the original EP in a full-length album, but for some reason the move has not been made until now. Searchlights is the long-awaited debut full-length album from Abandon, featuring the 9 best songs from the two EPs and 3 new songs. While it's mostly made of recycled tracks, the songs were fantastic to begin with, and the three new songs are great, making the final result a fantastic work.
Abandon has a sound unique to the Christian scene. People have compared their sound to the Killers. They are definitely Alternative in their sound and style which suits them well. The vocals are solid and easy to sing along with, the instrumentation is pretty solid, and the songs are well-written and fun to listen to.
As if good sound isn't enough, Abandon pushes it further with some solid lyrics about a variety of subjects. 'Providence' talks about, well, Providence taking its hold and how it controls the ways of man, while 'Confession' is about getting over one's pride and laying out their sin before God in surrender to Him. 'Safe In Your Arms' sings of finding refuge in God, and 'Your Love Lifts Me Up' encourages believers by ensuring us that Jesus' love keeps us going. Other lyrical strong points are definitely in 'Here Waiting,' 'Hold On,' and 'Hero.'
It's also interesting how the lyrics flow together between songs. For example, 'Song For the Broken,' which is about the savior for the lost, is followed by 'Confession,' implying that one has acknowledged the savior. 'Safe In Your Arms' is followed by 'Here Waiting,' which is interesting because it goes from talking about God being a refuge to God being open to anyone who comes to Him. The start and end of the album also seem to connect, as 'Hold On' kicks it off imploring you to wait for the savior, while 'Hero' describes the savior, Jesus. Interesting connections make the album all the more exciting and interesting.
Overall, Abandon has proven themselves once again in new ways with past songs, while adding three solid new tracks to the mix. The sound is very entertaining and different than any other Christian artist you will find. Their solid lyrics encourage, describe, and make one think, and the way the songs are ordered reveals some neat connections not otherwise made so easily from the original EP track listings. Don't hesitate to try out Searchlights: you won't regret it. In fact, you'll only want more.
Should You Buy It? Yes! Buy it! Listen to it! Enjoy it! Think about it! If you have the two EPs already, don't buy the whole thing, seeing as you could own the whole album by just getting 'Confession,' 'Here We Are Now,' and 'Safe In Your Arms.' Buy those songs, because they're well worth it.
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