Joy Electric has never been one to disappoint. Albums are put out consistently, music is often fun and unconventional, and lyrics, despite being weird, are thought provoking. The idea of a Joy Electric cover album continues in Jason Martin’s unconventionality and is a first.

Those unfamiliar with Joy Electric territory should know that Martin explicitly sticks to the basics of analog electronica when composing songs. As such, the album is a far cry from the likes of Bass Hunter or the Medic Droid. And although at times this works to make the music a little dull, some would prefer to call it minimalist, and this formula works rather well for the big name cover songs.

His take on “Viva la Vida” is unorthodox while sticking to the original song structure, while his rendition of The Killer’s 2006 hit “When We Were Young” is a fun analog synth take on the song.

Although the ears of many have been tuned to only the most glossed and produced songs, Joy Electric’s take is accessible if only some would give it a chance. As such, Favorites At Play is easily a must check out for any synth-pop fan / electronica fan, or music enthusiast in general.

Rating: 3 out of 5
Street Date: November 3rd
Label: Tooth and Nail Records

Track Listing:
1.) 1,2,3,4
2.) Viva la Vida
3.) I Miss You
4.) Falling Slowly
5.) When You Were Young
6.) Somewhere Only We Know
7.) It Ends Tonight
8.) Decode
9.) Say It Right

Jadon Lavik has called BEC records his home for nearly six years. Despite this, he has yet to garner much of a name in the worship industry. Yet he continues to faithfully release music, with this being his 4th record on the Tooth and Nail sub-label.

The Road Acoustic is, as its name suggests, an acoustic album. As such, it’s a nice change from the slick production sounds of worship giants such as Hillsong and so fourth. The simple struts of the guitar create an “at home” atmosphere, and listeners will feel as if they were sitting in a circle around a singer and his guitar.

Timing in at about 40 minutes, The Road Acoustic is easily that which can be enjoyed on a car ride or plane flight. While nothing entirely original, Jadon’s take on worship is a breath of fresh air in an increasing gargantuan industry of those who care for nothing more then fame and profit, and for this alone he should be commemorated.

Rating: 3.5 out of 5
Street Date: October 20th, 2009
Label: BEC Recordings

Track Listing:
1.) Here Our Song
2.) Move On Faith
3.) Come Thou Fount
4.) Father
5.) Come To Me
6.) Come To Me End
7.) On The Outside
8.) What If
9.) Wondrous Love
10.) Mighty God
11.) Surrender

When it comes to Christian pop-punk acts, the worthwhile ones are few and far between. Hawk Nelson is of those. Despite their relatively weak third release, their debut (Letters To The President) and sophomore follow-up (Smile, It’s the End Of The World) held their own, even giving Boxcar Racer a run for their money. As such, there is anticipation for their fourth full length offering.

Live Life Loud feels a bit of a time machine. The opening title track faintly reminds of their hit single “California,” while “Eggshells” feels like a mixture of Letters and Smile. Constructed via multiple jam sessions, songs feel a bit more rock and roll, as opposed to the more produced approach of Hawk Nelson Is My Friend. Things change up on the reggae-esque “Ode To Lord Stanley” which although it has been suggested to be light-hearted, feels metaphorical on some fronts and serious. “Alive” is easily a highlight.

Unfortunately, Live Life Loud’s main downfall is that it isn’t particularly memorable. While a few of the tracks are highlights, it falls short of previous material where nearly every song stood out. Despite attempting to energize songs like “The Job,” it feels uninspiring, and “Tis So Sweet” borders on boring. Still, Hawk Nelson is easily a favorite Christian pop-punk act and more than likely has years ahead of them.

Rating: 2 out of 5
Street Date: September 22nd, 2009
Label: BEC Records

Track Listing:
1.) Live Life Loud
2.) Never Enough
3.) Eggshells
4.) Meaning Of Life
5.) Alive
6.) Ode To Lord Stanley
7.) Long Ago
8.) The Job
9.) Shaken
10.) Lest We Forget
11.) Tis So Sweet
12.) The Final Toast

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Skillet’s rich history makes it near impossible for an article or cover story to do them justice. The grammy nominated foursome have been pumping out music for nearly fifteen years and are just now beginning to be noticed outside of Christian rock circles. Never bounded by genres, they’ve experimented with neo-hippie rock, electronica laced rhythms, industrial metal tech fests, grungy hard rock, and a more top-40esque sound on their latest Comatose.

While the band garnered quite the fanbase with previous albums, Comatose worked to catch the ears of many new listeners with its mainstream sensibilities. Spawning multiple headlining tours, a re-released deluxe edition, and a DVD of their live performance, Comatose was extremely successful.

Awake looks to pick up where the band left off, however feels a little premature. Only two years have passed since the incredibly successful album, and a project looking to fill such shoes would seemingly require a fair amount of time. Regardless Awake is here, and ready for the store shelves.

Perhaps nothing characterizes Awake more than the words straight from John Cooper’s mouth, “[Awake] is even more immediate than Comatose.” In a musical sense, the album takes their new sound to the next level. While Comatose had power ballads, Awake has several. While Comatose inched on radio friendly territory (think Shinedown), Awake runs into at blazing speed. While Comatose could have been perceived as geared toward at a new audience, Awake undoubtedly is.

And this isn’t inherently bad. Teaming up with famed producer Howard Benson, Skillet has never sounded so… “large.” Songs are loud, catchy, memorable, and fun. “Hero” is a hook heavy anthem, “Monster” would feel at home on rock radio, and “One Day Too Late” is easily top-40 material. Gone, however, are the days of the band’s signature gritty heaviness, metaphorical lyrics, and perhaps more original songwriting.

It does feel slightly odd to hear Cooper singing some of the lyrics. The married thirty-six-year-old sings of broken dating relationships in “Should’ve When You Could’ve” and teen driven angst in “It’s Not Me It’s You” shouting in the chorus “It’s not me it you! It’s not me its you! It’s not me its you! All the lies and stupid things you say and do. It’s you!” However, the album is not without its highlights. “Awake and Alive” takes the brilliance of Comatose’s title track and almost reinvents it perfectly. “Don’t Wake Me” is one of their best ballads, and “Lucy” will undoubtedly pull at the heart strings - it’s bound to have listeners thinking about life in a way much music doesn’t.

The album feels specifically branded for a younger audience, but at times this tends to make the album fun. Some are the songs are just great to rock out too. Awake stands on its own, but does fall in comparison to their previous material. Unfortunately, many longtime pinheads may be disappointed, but Awake will undoubtedly pull new ones in.

Rating: 4 out of 5

Street Date: August 25th
Label: Atlantic Records

Track Listing:

1.) Hero
2.) Monster
3.) Don’t Wake Me
4.) Awake And Alive
5.) One Day Too late
6.) It’s Not Me It’s You
7.) Should’ve When You Could’ve
8.) Believe
9.) Forgiven
10.) Sometimes
11.) Never Surrender
12.) Lucy

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A bio touting ex-Chariot member is enough to get the attention of many in the music world. Hailing from Kansas City, Missouri, Queen’s Club is a self-described dance group, seemingly hoping to get the attention of the scene followings of Breathe Carolina, the Medic Droid, and Cash Cash.

Unfortunately, success is not likely to be found. The EP begins with a rather blandish opener, and the tracks which follow don’t work to do much better. The composition feels a bit more complex than the standard scene club track; however, the uninspiring vocals and lack of memorable hooks makes each listen feel a drag.

As such, there is little hope for Queen’s Club. The vocals, despite explicitly not being auto-tuned, desperately need it to create something interesting. The EP reminds of a toned down Jonezetta debut album. Since this is their debut, there’s a rather negative first impression, and time is needed to see if something worthwhile will come forth.

Rating: 0.5 out of 5
Street Date: n/a
Label: Tooth and Nail Records

Track Listing:
1.) Nightmarer
2.) Dust
3.) Family Ties
4.) Greinke
5.) Uh Huh
6.) Nightmarer – Justus Remix

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It seems Tooth and Nail has been on somewhat of a signing spree lately. From former The Chariot member’s new dance group Queen’s Club to South Carolina hailing quintet Sent By Ravens, to the likes of The Ascendiate, The Letter Black, and Gwen Stacy, it looks as if the Seattle based label is hoping to find another hit band. Unfortunately, with the Letter Black, it’s hard to tell if the strategy is paying off.

Breaking The Silence is a mix match of Linkin Park, Red, and Evanescence alternative guitar riffs, a combination of Flyleaf and Fireflight vocal similarities being all too obvious. Despite slick production moving Ms. Anthony’s voice to the front of the songs, it’s hard to find any of them memorable. “Moving On” is a song which has been written hundreds of times by too many other bands, while “All Of Me” feels cliché with its hard-rocking chick goth vibe.

Is it so much to ask for a female-fronted band doing something around the likes of Muse, MuteMath, or any other innovative artist? Breaking The Silence is not a complete failure though; “Best Of Me” and “Hanging On A Thread” are at least memorable, especially with their slick production. The Letter Black will really have to impress, though, following a mediocre EP.

Rating: 2.5 out of 5
Street Date: September 22nd, 2009
Label: Tooth and Nail Records

Track Listing
1.) Moving On
2.) Hanging On By A Thread
3.) Best Of Me
4.) Collapse
5.) All Of Me
6.) Perfect

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Thousand Foot Krutch unknowingly set a standard with their 2003 record Phenomenon. Fans fell head over heels for it, and understandably so- it’s easily one of the strongest alternative rock albums of the time. Although not a quality found directly in songs, the album was mysteriously atmospheric, bordering on ambient. Subsequent releases were good, but not as good. The distinct sound found on earlier material disappeared, and at times in its place, a more monotone pop appeared. However demoing a song during an online studio chat with fans, frontman Trevor McNevan reignited hopes for a return to the band’s signature alternative sound. He further made a case for these hopes saying “This album is definitely our heaviest record yet and that was intentional…there’s an aggression.”

And Welcome to the Masquerade delivers. From the anticipation building intro, and rather pummeling title track, to the rousing “Fire It Up” many fans will wish this record was released following their Tooth and Nail debut. Nearly every song feels reminiscent of the strong points in their previous works. The title track reminds of Phenomenon’s, while “Fire It Up” feels a blend of previous anthemic tracks with a “Move” styled vocal delivery and a “Bounce” lyrical mentality. The heavy delight “E For Extinction” brings back the nostalgic “Quicken,” and “The Part That Hurts The Most” carries a “Faith Love and Happiness” vibe and is among the strongest songs they’ve written.

Despite a genre filled with cookie cutter acts which incorporate what many would accuse cliché lyrics, McNevan’s voice sounds authentic when delivering what he’s penned: “It’s not a joke, I feel as messed up as you do, I’ve felt the feelings you’ve been feeling, been through the same things you’ve been through.” To the dismay of some, there is a new “Rawkfist;” however this one isn’t as cheesy sounding, and while the thirteen song collection has a more Phenomenon tone then the previous two albums, it is not a clone copy. Just as Meteora expanded on Linkin Park’s Hybrid Theory, the album takes bits and pieces of earlier work and evolves them.

As such, Welcome To The Masquerade is everything a Thousand Foot Krutch record should be, and could contest as the best rock record of 2009. As John DiBiase of Jesusfreakhideout noted, Welcome To The Masquerade combines nearly all the bands strong points. TFK couldn’t sound stronger. However, McNevan put it the best when he said “Thousand Foot Krutch has kinda been my baby my whole life.” Its evident Welcome To The Masquerade has tons of time invested in it.

Rating: 5 out of 5

Street Date: September 8th, 2009
Label: Tooth and Nail

Track Listing:
1.) The Invitation
2.) Welcome To The Masquerade
3.) Fire It Up
4.) Bring Me To Life
5.) E For Extinction
6.) Watching Over me
7.) The Part That Hurts The Most (Is Me)
8.) Scream
9.) Look Away
10.) Forward Motion
11.) Outta Control
12.) Smack Down
13.) Already Home

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Let’s face it, there are many heavy acts running around today. From Underoath, Norma Jean, As I Lay Dying, and Demon Hunter, to The Devil Wears Prada, Bring Me The Horizon, Dr. Acula, and the Faceless, to multitudes of others including: White Chapel, Job for a Cowboy, Trivium, Slipknot, Cannibal Corpse, Zao, Fear Before the March of Flames, and Impending Doom, heavy music has had a surge of popularity. In fact, it’s rare to find a show or iPod in the music world today (particularly “the scene”) which doesn’t feature some offshoot of metal or hardcore.

Thus listeners are left to sort through what many would consider an array of mediocre music in search of originality or talent.  Welcome to Becoming the Archetype. Making their debut on Solid State Records with a name meaning to: “become like the ultimate Archetype for humanity,” and an album titled off a Mortification song, “Terminate Damnation,” this metal foursome has brought fourth some of the most technical, talented, and well written metal in the last 5 years. Four later, music lovers are presented with their third and arguably most solid release “Dichotomy.”

“Dichotomy” explores the realm of disunion, specifically relationships between: man and machine, biology and technology, and truth and falsehoods. Its lyrics are jam packed with that which is bound to make the listener think, and it’s obvious they were written to do so. The title track recounts the fallen state of man: “Initially they rationalized with futile speculation, which brought upon their ultimately fatal calculations, their foolish hearts were darkened, their vacant minds deceived,” and “Artificial Immorality” exposes the flaws of secular-humanism: “Technology will conquer, biology will fall, discard the body to elevate the intellect, this new ‘evolution’ puts perfection within our grasp, shake off the chains, the constraints of your morality.” Each line contributes to an overarching theme.

BTA’s strong point is their ability to experiment, which manifests itself in a jazz-esque interlude in pummeling epic “Mountain of Souls,” an eerily soulful breakdown in “Deep Heaven,” and a choir proclaiming the glory of God in “End of the Age.” As to the highly annoying, ever waging “genre war” most would be happy to classify BTA as progressive metal, with death influences. The drums are fast, the guitars fierce, and the vocals fairly brutal.  The disc features a few notable guest appearances including Ryan Clark of Demon Hunter, Devin Townsend of Strapping Young Lad, and a soprano, all of which sprinkle a tad of diversity on a consistently heavy record.

The message is strong and unabashedly Christian, however not in a “turn or burn” fashion; rather the lyrics lay out beautiful and sometimes beautifully tragic truths, for its listener to interpret and apply for themselves. From the aforementioned choir in “End of Age” (which also makes an appearance in “Self-Existence”) which sings “He is clothed in greatness, His Voice resounds throughout the earth, If He speaks the earth will crumble, If He move the universe will fall,” to the lyrics of “Evil Unseen” which read “Compromising faith will doom the generations, the cancer of mind-worship leads the spirit to decay,”  to their completely dismantled version of “How Great Thou Art,” vocalist Jason Wisdom pens that which is both spiritually and intellectually stimulating.

Without a doubt “Dichotomy” is a solid release, and could render itself worthy of a spot in 2008’s top 10 albums; however there were a few moments which felt slightly dull. From their sophomore record “Physics of Fire” there seems to be movement in the right direction, yet in comparison to their first release “Dichotomy” still falls a little short. It could be that “Terminate Damnation” just had so much going for it with songs like: “Elegy,” the grind influenced “One Man Parade,” “Into Oblivion,” and insanely fast and brutal “Beyond Adaptation” that few records can stand up to it. Regardless BTA and metal fans should check out this release, as its still chock full of heaviness, brutality, and enough experimentation to make your mom think your listening to her smooth jazz play list for a minute or so.

Rating: 4 out of 5
Label: Solid State Records
Street Date: November 24^th 2008

Track Listing:
1.) Mountain of Souls
2.) Dichotomy
3.) Artificial Immorality
4.) Self-Existent
5.) St. Anne’s Lullaby
6.) Ransom
7.) Evil Unseen
8.) How Great Thou Art
9.) Deep Heaven
10.) End of the Age

Attending concerts has always been a pleasure, and when I caught wind that Anberlin would be stopping by along with: There For Tomorrow, Straylight Run, and Scary Kids Scaring Kids I counted myself and some friends in. The show transpired in a former church turned nightclub / intimate concert venue in downtown Pontiac, Michigan.

Although I’ve attended over 180 shows I had yet to experience any of the opening acts, so I wasn’t entirely sure what to expect. Around 7:00 There For Tomorrow took stage. The first thing that caught my eye was the rather youthful appearance of its members. Their set consisted of a half-hour of pop/scene rock, slightly reminding of a less catchy Sherwood. Their set wasn’t entirely impressive, but it seemed the young nature of the band ensured time to mature.

 Following There For Tomorrow was a brief intermission during which a friend and I made our way toward the merch tables. Noting a few Anberlin shirts we’d like to purchase, our eyes wandered to some awfully plain looking shirts and track jackets sporting the name of the upcoming act Straylight Run.  Making our way back, we were greeted by the sound of the band taking stage. Their show more than made up for the uninspiring shirts. Stylistically the band seemed a fusion of Mewithoutyou and Mutemath, and although it was apparent that many in the crowd were unfamiliar with them, most seemed very pleased by the end of their set.

Scary Kids Scaring Kids were next on the bill, a classic screamo act hailing from Gilbert, Arizona. Unfortunately their performance wasn’t up to par with the aforementioned act. Creativity and originality seemed to lack on various levels, as the audience was treated to 40 minutes of what some would consider “cliché loud music.” The performance typified the average screamo act, average being the unfortunate part. There just wasn’t anything that made them stand out, from all the shows I’ve attended.  Granted I will not write them off, as I may need to be more familiar with their material before seeing them. However their live show didn’t pick me up at all. Take Emery, strip away the dual layered vocals, and some of the more unique elements, add a tad of aggression and you have Scary Kids Scaring Kids.

Following their set was the one we’d been waiting for. The lights dimmed the crowd cheered, exponentially louder, as each member’s silhouette slowly made way onto the stage. Stephen Christian was the last to show himself before breaking into “Disappear,” a driving rock anthem from their latest release. Despite being a relatively new song, the crowd passionately sang along, word for word, showing the energetic frontman their dedication.

Following the opener, was the pleasant surprise “Never Take Friendship Personal” the title track from their sophomore debut. As with every Anberlin show, the Florida quintet gave their best. Knowing exactly what the audience came for, they launched into fan favorites “the Unwinding Cable Car” and the now 3 year old but still fresh as ever “Feel Good Drag.” It was obvious the crowd was familiar with their whole discography, as they cheered upon Anberlin’s launch into “A Day Late” the band’s first single of 2005.

Talk between songs was kept to a minimum, as they progressed from one track to the next. Continuing in the tradition of the evening they broke out “Adelaide” and “Dismantle. Repair.,” both of their 2006 record “Cities.” Although the tour was promoting their latest release, “New Surrender,” only two of the fourteen songs came from it: “Disappear” and “The Resistance.”  For someone who’s seen them 4 times this was a slight let down, however I’m sure first timers were more than pleased.

The rest of the night consisted of songs such as: “Godspeed,” “A Whisper and a Clamour,” and “Inevitable.”  They closed with the epic nine minute “*Fin” which has become a staple in their setlist. (all 4 shows I’ve been to have ended with it) The show was more than passionate, however I couldn’t help but notice the band did seem a little worn out, possibly based on the fact that the was mid-tour, instead of the beginning of end. Regardless the evening was more than worth the time and trip, and if Anberlin happens to stop by your town make it your goal to see them.

Anberlin Set List (No Particular Order)

Disappear
Never Take Friendship Personal
The Unwinding Cable Car
Adelaide
Dismantle. Repair.
The Resistance
Godspeed
Inevitable
A Whisper and a Clamour
The Feel Good Drag
Hello Alone
A Day Late
Paperthin Hymn
*Fin

All pictures shown taken by Kory Flynn.

It can be difficult to pinpoint that which separates a “band” from a “good band,” and a “good band” from a “great band.”  While originality often divides the “good” from the “great,” the qualities which distinct the “average” from the “good” can be quite subjective. Could an arbitrary measure of passion / “epicness” be the sole factor in determining this? What accounted for the Panic at the Disco fan disappointment upon “Pretty. Odd’s.” release? Was it simply that they had changed their style? No, it couldn’t have been, for if this new style had been perceived for the better it would have brought the success the hype had anticipated.

While it may be obvious to most that music is extremely subjective, there must be a common scale to that which we hold it, or albums such as Linkin Park’s “Minutes to Midnight” would not have been so ill received by both fans and critics. It’s mediocrity that cries fowl in our ears. Music that doesn’t have a sense of passion, or seemingly lacks purpose is that which is bound to be found in discount racks across music stores.

“Anorax” is the perfect example of said music. Opening the disc is “Hibernation Pieces,” a track far from bad, but the embodiment of average. Take the smooth vocals of Aaron Marsh of Copeland, make them a tad monotone and put it over a bed layer of slowed down Sherwood guitar riffs and you have Ruth. Unfortunately most of the album follows suit with the opening track. From “Back To The Five” to “Rolling With The Punches,” each tracks just feels bland. Crossing Surrogate and the Plain White T’s is “Miracle Photo,” yet something is missing that made “Hey There Delilah” stand out from the rest of acoustic love songs.

Most of the lyrics are personal, written in first person. They survey categories from broken relationships, to life and love. This simplicity is an awkward breath of fresh air from groups such as Innerpartysystem or Genuflect, but at times feels like the listener is being subjected to the venting of a torn-apart frontman.

While Tooth and Nail generally sign and release great artists and albums, Ruth doesn’t seem to have the innovation or musical maturity to roll with rest of the roster. Although wanting to be far from overly critical, there is simply nothing that makes “Anorax” stand out. While the simplicity and calm aura that radiates from “Anorax” is a breath of fresh air, the record feels incomplete. If you enjoyed their first release, “Anorax” will likely be up your alley; if not, there’s not much new to see here.

Rating: 2 out of 5
Street Dating: October 28^th 2008
Label: Tooth and Nail

Track Listing:
1.) Hibernation Pieces
2.) Back To The Five
3.) Who I Was And Who I Am
4.) Rolling With The Punches
5.) Hearts On Sleeve
6.) Pure Concept
7.) Forgetting To Remember
8.) Nothing To Hide
9.) Miracle Photo
10.) Speechless Mess
11.) Dead Giveaway