Nothing on On the Blue looks too much like a “Miracle”
Posted June 30, 2008
By Nathan,
When you hear the style of music ‘Adult Contemporary’ what do you think of? A intelligent guy who writes artistic songs on his guitar (or piano) that makes everyone slow down and take a listen? Well If so than Joel Auge certainly fits some of that description, as his music is mainly powered by a acoustic guitar. But that is where most of the comparisons end, as many of his songs are on his debut album, On the Blue really praise and worship.
One of the problems with his music is the radio friendly tunes are the songs that are there one day and gone the next, plus most of his music is just boring. While Joel Auge’s vocals reveal his emotion at least on “where you go I go”, the music is light and unimpressive. That can also be said for “so deep in love” which is a little more impressive, but the music is nothing new. “Every heart” is more complex music than most modern worship songs, but “even the rocks” sounds like a upbeat Brandon Heath song, which doesn’t help the originality of the music.
The album changes pace with “miracle love” which is a light adult contemporary song that lacks the emotion to inspire frequent play. From then on, with the exceptions of “glory glory” and “singing hallelujah” (which are more upbeat worship songs) is more slow, almost boring songs like “miracle love”, “stolen it away”, and “here I am to praise you” (all of which sound unfortunately like each other). The title track is a more complex acoustic, guitar fueled, song than the songs that were last mentioned, although the volume of the song changes strangely. The album ends with “I know my place” which is yet another acoustic song.
It’s nice to know that Joel Auge’s lyrics are more interesting than his music. His style of writing brings Jared Anderson to mind and his crystal clear (bordering on boring) and occasionally on strange lyrics. “So deep in love” is a repetitive love song that doesn’t specify whether it’s a girl or God, but the consistent theme of God in the album strongly suggest that it’s God. Talent shows on “where you go I go” as the singer desires to fallow Jesus’ example about obedience (‘So how can I expect to walk without You/When every move that Jesus made was in surrender’). “Every heart” is a little odd when it says “every heart will sing” but “even the rocks” displays lyrical insipidly (‘I want to worship You, ooo ooo/What can I do, Oh Oh/What can I do but worship You, Oh Oh Oh’).
Auge’s theology gets a little strange on “miracle love” when he makes the statement ‘In earnest we’ve come /We’ve brought everyone /To show you /How much we think of /Your miracle love’ because it seems somewhat unbiblical and prideful. Not sure what ‘Sweet smelling incense/Heavenly romance’ is, on “Glory glory” but far be it for anyone to dispute his lyrics. ”On the Blue” takes the place of Peter (‘Even as my brain tells me that I should drown /I still so believe that you would never let me down’) in one of the albums highlights. “Stolen Away” is just odd (‘Stealing ones breath isn’t criminal /All the attention, /goes the direction, /of the one whose breath you stole’) and “Singing Hallelujah” is repetitive worship song.
Musically stale, as the melodies lack, and save a few songs lyrically dry and repetitive. Adult contemporary doesn’t have to be a earth shattering style of music, but the effort Brandon Heath, Mat Keanry, and even Chasen inspire more of a listen than On the Blue. Although Joel Auge sometimes might sound like Phil Keagy he still has a few areas that could be improved.
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