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

The toughest challenge in the obstacle course that is the modern music industry is setting one’s band apart. Attempts to overcome this barrier are often career defining, and have yielded both breakthroughs and breakups. An example: from the 90’s, a generation musically defined by boys bands and pop culture, emerged the likes of Limp Biskit and Linkin Park- the former a now defunct band, infamous for their shallow lyrics and cookie cutter style music, the latter evolving to become one of the decade’s leading alternative acts, selling over 50 million records, world renown for their particular brand of rock and rap. The variables that spurred these stylistically similar bands down their separate paths: innovation and originality.

The likes of FL Studio, Garage Band, and Mixcraft, among other commercially available software, have given musicians an unprecedented quantity of quality tools for creating said innovation. Ironically, the popularity of sites such as Pure Volume, Myspace, as well as consistently new file sharing modes such as p2p, torrents, and music sharing sites have made good album’s a “dime a dozen.” It is in this rapidly changing, almost chaotic music / technologic scene that bands must compete. Welcome to Innerpartysystem. Catching the crowd’s eye with the thought-provoking music video “Don’t Stop,” as well as releasing an EP and garnering a fan base, the quartet is ready to present their full length debut to an increasing hostile music scene. This milestone begs the question: “Does Innerpartysystem stand out?” The answer is “yes.”

Innerpartysystem manages to blend ambient rhythms, techno bass lines, electronica-styled beeps, and soaring alternative vocals, while weaving in some of the most socially conscious lyrics in memory. Writing about insecurities and singing of unspoken uncertainties, Innerpartysystem addresses fears that may reside in the hearts of many. The opener “Die Tonight Live Forever” explores the lifeless life of uninhibited indulgence and sensual excessiveness, while “Don’t Stop” depicts a morbid modern media scene. Accompanying music videos work to complete each track, offering what could be viewed as social commentaries.

“Obsession” reveals the inner thoughts of a psyche dominated by a desire to make itself known and loved, the lyrics: “I want you to notice, what you’ve been missing; I want you to feel that, to feel that deep inside you. What is your satisfaction? I’ll give you what you need.” The message of “The Last Night in Brooklyn” pulses over techno rhythms, while the lyrics of “Structure” float, feeling somewhat ambient.

The lyrics steer the driving music. The vocals are truthful yet fearful; their transcendent blend with the background music creates an extremely atmospheric album. Most songs aren’t too different, just diverse in the same overlying genre. “This Town Is Your Grave” serves as one of the more intense tracks and is a highlight, as well as the passionately desperate “Don’t Stop.” Almost every track is solid and contributes distinct characteristics; however a few, more notably toward the end, do sound similar to earlier tracks and feel just a tad repetitive.

In a world filled with various offshoots, Innerpartysystem manages to master the alternative genre. The album as a whole is a work of art, and raises questions relevant to 21st century ethics and morality. Although dark, this debut is more than worth checking out, and easily renders itself candidate for album of the year. If you’ve yet to discover Innerpartysystem there couldn’t be a better time.

Rating: 4.5 out of 5
Street Date: September, 30^th, 2008
Label: Stolen Transmission

Tracklisting:

1.) Die Tonight Live Forever
2.) Last Night In Brooklyn
3.) Don’t Stop
4.) Structure
5.) Everyone Is The Same
6.) Obsession
7.) This Empty Love
8.)  New Poetry
9.) This Town Your Grave
10.) Heart on Fire
11.) What We Will Never Know
12.) Home

In 2007 Anberlin caught the music world off guard. Surpassing their previous two releases, their third “Cities” was their most mature, insightful and memorable album to date. Critics raved, fans praised, major labels paid due attention, and early in 2008 the group announced a signing with Universal Records. While the move seemed somewhat sudden, it was long overdue, as only a label such as Universal could bring the resources and publicity that could realize the full potential of Anberlin.

Expectations for “New Surrender” are of the highest caliber. Could they really outdo ‘Cities’? Could such a CD be written, recorded, produced, and released less than a year and a half later? What sort of effect would their signing with Universal have on their sound? And although so little time has passed since their previous release, their fourth, and first major label, record “New Surrender” indeed lives up to the hype.

Opening with the rather intense “The Resistance” fans will be reminded of why they fell in love with the band in the first place. Following is the equally powerful “Breaking,” its verses and choruses mixed with emotionally soaked vocals, driving riffs, and heart wrenching lyrics. A fan favorite “the Feel Good Drag” which made its initial appearance on their sophomore effort “Never Take Friendship Personal” has been re-recorded, and although it will be debated for better or worse, brings a fresh take on the four year old song.

The album’s ballads are stellar, and the quasi-title track “Breath” is bound to keep even the newest listeners singing along. Continuing with highlights:  the anthem-styled single “Disappear,” the slightly radio friendly “Haight Street,” and the depressed yet hopeful “Soft Skeleton,” which tells the story of a young women bound by a drug laced lifestyle, further solidify an already solid album. As with the final tracks on the last two records, “Dance Dance Christa Paffgen” and “*Fin,” “New Surrender” closes with the epic six an half minute “Miserabile visu (ex malo bonum)”

Although there were a few moments which produced a nostalgic longing for the more epic “Cities,” with an array of well crafted tracks “New Surrender” can stand on its own. A sort of spirituality penetrates the disc, and will be refreshing to many who tire of the music scene’s typical topics. If anyone has yet to jump on the Anberlin bandwagon the time is now, it’s taking off at full speed, and doesn’t look to be slowing down anytime soon.

Rating: 4 out of 5
Street Date: September 19^th, 2008
Label: Universal Records

Tracklisting:
1.) The Resistance
2.) Breaking
3.) Blame Me! Blame Me!
4.) Retrace
5.) Feel Good Drag
6.) Disappear
7.) Breath
8.) Burn Out Brighter
9.) Younglife
10.) Haight St
11.) Soft Skeletons
12.) Miserabile visu (ex malo bonum)

Anberlin has a new record dropping September 30^th entitled “New Surrender.” I recently had the opportunity to catch up with Nate Young (drummer) via telephone. We discussed the new album, touring, Stephen’s humanitarian organization, music, and so on. While our conversation was on the shorter side, it was very insightful. Look for an album review in the very near future!

Camaren: Now you guys have “New Surrender” dropping September 30^th, how have things been around the Anberlin camp?

Nate: It’s been good; it’s been hectic. Today we start practice for the fall tour, about to head over there now actually. But it’s been fun, crazy, and it’s been cool. We just signed a bunch of stuff for pre-orders; it’s been good, that’s for sure.

Camaren: Ok. Now I know you guys re-recorded “the Feel Good Drag”. It’s kinda well known now…

Nate: [laughs] What’d you say?

Camaren: Just mention that the news is kinda out; it’s well known now. 

Nate: Yea . Yea. Yea.

Camaren: So when it came to producing, mastering, and re-recording it, what was that like, because you had so many fans who loved the song already. I’m sure you wanted to stay true to the original, but at the same time change things up a bit, so what was that like? 

Nate: Um, I think going into it that was one of our favorite songs. We kinda wanted to do it again, give it another chance. So going into it, we all just wanted to make it, you know, “bigger sounding” a little bit “tougher” on different aspects of it, change a couple things. It definitely was different, knowing that fans do love that song, that’s always been a fan favorite. That made it a little bit challenging, just to make sure that we still made them happy, and that they were still stoked on it. But you know, I think we went in just hoping to make it better, if that was possible, and we just kinda went for it. I think it worked out awesome. We were super stoked on it. We didn’t change much; kinda just little things here and there. But overall I think we’re all pretty happy with it, and hopefully everyone else is happy with it as well.

Camaren: For real. So what it like working for Universal as opposed to Tooth and Nail? It’s a huge step. 

Nate: Yeah totally. It’s been amazing, I mean Tooth and Nail is a great label, and they’re all super close to us still. It’s funny because, you know we always hear these rumors about major labels like “Oh watch out, it’s not personal at all, or it doesn’t feel like family.” But actually, it was so natural; they were just so rad, and super close to us. It almost felt like an indie, which was awesome, which I think is such a great thing for them. Everyone’s super “on top”, and just friendly. It doesn’t feel like you have to call twelve people to get a hold of someone- everyone’s just there. Now we’re all great friends, and it feels the same way we felt with Tooth and Nail. Also, they’re an incredible label that really does stuff for their bands. If you look at their roster, it’s not insanely massive; it’s just like a handful because they just want to believe in the band. So far it’s just been really amazing.

Camaren: Legit man. I had the chance to talk with Stephen the last time he was in Detroit, and he had mentioned his desire to work, and continue to work with organizations such as World Vision. Fast forward a year, I’m attending Cornerstone Festival, and I notice a bunch of pamphlets promoting Faceless International, a humanitarian group that he co-founded, which I think is so cool. How’s that been for him and you guys? 

Nate: It’s been amazing for Stephen; it’s something he’s always wanted to do. Just seeing him being able to do that is awesome, you know. He loves it. I was supposed to go to India a couple years ago, but some family stuff came up and I had to stay home for it. But I’m trying to go again, hopefully next year some time. We’re talking about going to Africa. It’s doing really well, and it’s really cool to see kids get involved, and that’s all he wanted. He wanted to see kids have an outlet to do that, and it’s just been really cool to see him work on it, and watch it grow. He loves it, and I love watching it grow and stuff.

Camaren: Absolutely. Well changing gears a bit, to the new record. The last track on “New Surrender,” “Miserabile Visu (ex malo bonum),” excuse me if I butchered the name, I couldn’t help but ask about the topic of the song. It feels slightly apocalyptic in nature.

Nate: Yeah. You’d have to ask Stephen. He knows obviously what it’s about more than I do. But it’s definitely along those lines. We just wanted a song musically to have “that feel”; kinda dark, slow, while being super passionate. Stephen wrote that song, and the lyrics are completely apocalyptic, like end of the world, just dark. I think it’s one of the coolest things he’s written, because you just listen to it, and it’s just like, “man this sounds like the end of a movie.” I know he got a lot of it from the last book of the Bible, Revelation, like the phrase “blood on the moon” and just crazy stuff like that. I’m sure he’d have a crazy story to tell about it.

Camaren: So continuing the tradition of having the last song being the longest and “most epic.” 

Nate: Yeah totally. It’s funny because we never planned on doing it that way, but each record it’s just happened, it’s kinda our staple now, I’m sure every record, we’ll try to outdo ourselves, and make like some long nine minute song.

Camaren: Yeah man, they’re definitely favorites. Any music videos in the work, or can you guys talk about that? 

Nate: Yeah definitely. I think in the next couple weeks we’re gonna try to shoot one for “the Feel Good Drag”. We might even do it at the end of this month in LA. We’re just still trying to work it out. We’ve been talking to producers and stuff, ironing out the kinks right now, but we’re definitely gonna be doing one for sure.

Camaren: Any headlining tours in the works? 

Nate: Yeah, we start our headlining tour in a couple weeks actually; it starts October 3^rd. We’re gonna be doing a full fall headlining tour with the bands: Scary Kids Scaring Kids, Straight Light Run, and There For Tomorrow, but yeah, that starts October 3^rd and goes through November 7^th.

Camaren: Nice, I’ll be at the October 25^th date for sure; any music you guys been spinnin’ lately, anything you guys been enjoying? 

Nate: Yeah, we all listen to different stuff. I feel like that’s kind of how we make Anberlin, is that we all pull from different inspirations and different things. I listen to a lot of like more chill stuff. There’s a band I’ve been listening to a lot lately called MGMT, and then a band called Wolfparade, and just kind of random stuff that you would listen to and probably be weirded out by, as it doesn’t sound anything like us. But yeah, you know, bands like Sugar Ros and the Beatles; you got to listen to the Beatles.

Camaren: Hah got ya. Alright, well two more then. If you could leave fans with one thing, if you could communicate one thing to them at the present moment, what would it be? 

Nate: I would just say, not to be cliché, but I would just say you know, make a difference and just know that being in a band isn’t all about yourself, or making yourself happy, or looking cool. That’s not what it’s all about; it’s just about something that makes a difference. And it’s so easy, you could go out, and there are so many things you could get involved with. You know, there’s little stuff here and there and even if it’s just like volunteering in someplace downtown, helping feed the homeless or whatever. I just feel like being in a band is just an opportunity to be able to reach more people, and have a positive attitude, and not just about sex, drugs and rock and roll. But yeah, just to really go out and do something with your life. But yea, just know that it’s not all about you, and you can make a difference.

Camaren: For real. Alright I’ll leave you with one last silly one, any comments on the “New Facebook”? 

Nate: On the new what?

Camaren: On the “New Facebook.” 

Nate: Ah dude! I wish I could answer that, I feel so old, but I don’t have a Facebook, or a Myspace or anything! Ahh!!!

Camaren: Probably a good thing 

Nate: Why does it suck, does it have a bad layout?

Camaren: Well they switched their layout, and there’s been a ton of people crying out against it. I know there are about 4 million members who have expressed their discontentment over it, but if you don’t have one then at least you got time to chill, not get sucked into another social networking site. 

Nate: Yeah I know our band has one, but I don’t have one.

Camaren: Ok. Well hey, I appreciate it! Thanks for taking the time, and I’ll see you guys October 24^th out in Michigan. 

Nate: No problem, thanks a lot Camaren. Cya!

For doubters who believe the Christian rap genre will never work, Manafest is here to prove you half wrong. Although artists such as Grits, Lecrae, Trip-Lee, and John Reuben may never grace the mainstream charts, as long as the inspiration comes from an alternative motive, quality Christian rap will continually be produced.

Although the temptation of writing Manafest off as an Eminem “wannabe” will remain great, there is no doubt that the young rapper could indeed hold his own amongst mainstream heavyweights. While “Citizens Activ” is not perfect, the album could be described with phrases such as it “more than works” and “shines radiantly from time to time”. The opener “4-3-2-1” is surprisingly a relatively weak track, and is bound to have some initially worried. However things pick up on “So Beautiful”- an unabashedly pop-rock / rap track, and one of numerous songs which showcase the talent of Trevor McNevan of Thousand Foot Krutch.

Continuing on a strong note are the quasi-ego inflated “Steppin’ Out” and semi-cheesy “Breakup”. When Trevor McNevan makes yet another guest appearance on two of the album’s stronger points “Top of the World” and the alt-rock influenced “Kick It,” things feel just right. In fact, the McNevan duos feel so natural that one begins to wonder whether every track should have featured him.

As mentioned earlier “Citizens Activ” is not necessarily perfect, but shines enough to render itself a relatively strong release. The album is also illuminated by an odd sense of originality. Although the rap-rock gene has been done numerous times, the unashamedly rock and even pop influences that take root throughout the disc set “Citizens Activ” apart from numerous other releases.

Rating: 3 out of 5
Label: BEC Recordings

Tracklisting:
1.) 4-3-2-1
2.) So Beautiful
3.) Stepping Out
4.) Good Day
5.) Free
6.) Break Up
7.) Top of the World
8.) Kick It
9.) Lean on Me
10.) Turn It Up
11.) Live On

It’s always tough to approach a worship album for review. While the music, instrumentation, and album structure can be criticized, it remains difficult to do the same for the lyrics, depth of emotion, and passion on the disc as they can be perceived as inherently present, intrinsically true, and undoubtly good. As good critics know, as opposed to coming across snobby, shooting mere opinion as fact, it is better to acknowledge one’s own biases and personal preferences, so feel free to disagree about Tomlin’s latest.

Among today’s worship crew Tomlin has received the most polarized reviews. While his audience swoons over his awe-inspiring singles which have become staples in most American church’s worship sets, critics often remain slightly skeptical, judging his albums on a more holistic basis as opposed to the singles (see “How Great is Our God” and “Made to Worship”). His latest “Hello Love” may escape said criticism.

While the album gets off to a relatively slow start with “Sing Sing Sing,” the disc as a whole is relatively energetic, passionate, and authentic. Tomlin’s voice has been brought “up front,” and drives the music just as much as the background instruments. “Love” is a memorable African stylized track, featuring a children’s choir singing in their native tongue, and “Praise the Father, Praise the Son” is a rather simplistic song which feels slightly less “Tomlin” and more traditional contemporary worship. (Oxymoron? Think Sonicflood). It is without a doubt that many of these songs will be incorporated into church’s worship sets. The most awe-inspiring, “God of this City,” has already made its way into rotation, with others in line.

The only drawback to “Hello Love” is that it seems to lose a bit of its initial flare after first listen. Although it’s likeliness to be enjoyed a second and third time is certain, it’s not an album that could be spun multiple times in one sitting. Regardless, if you’re a Tomlin fan “Hello Love” was made for you. If you’re a worship leader, “Hello Love” was made for you. If you’re the typical contemporary worship fan “Hello Love” was made for you. However, if you’re a music enthusiast who listens to new music on a daily basis, “Hello Love” will be best utilized for it’s more popular songs, on a great worship playlist.

Rating: 3 out of 5
Street Date: September 2nd, 2008
Label: SixStepRecords

Tracklisting:

1.) Sing Sing Sing
2.) Jesus Messiah
3.) You Lifted Me Out
4.) God Of This City
5.) I Will Rise
6.) Love
7.) Praise the Father, Praise The Son
8.) My Deliverer
9.) With me
10.) Exalted (Yahweh)
11.) God Almighty
12.) All The Way My Savior Leads Me

Some music is slick. Polished and produced to a point that it sounds best on an official studio recording. Some music is best experienced live. Worship music falls into the latter category. It can only reach its full potential in such an environment; where the atmosphere, others partaking, and sense of vulnerability create an experience that is unlike any other. The Remedy Club Tour offers just that.

What may be the curve ball of “Remedy Club” is that it doesn’t bare similarities to worship giant Hillsong, who have seemingly mastered the art of mixing production with live music. In fact, “Remedy Club” although live worship, feels entirely “Crowder.” The music remains true to that of the official recordings, the live element contributing just the slightest “raw” feel. From the electronic beats, to Crowder’s signature vocals, it’s all here.

The set is comprised of sixteen songs from their latest two ventures with the exception of “O Praise Him.” As far as performance goes, there is no disappointment, and as far as something “different” the crowd adds a great element of corporate worship, shining bright on the beautifully intense “You Are My Joy” and the hopeful “Never Let Go.” It’s also fun to hear Crowder interact with the audience, adding a slight personal vibe to the disc. These live elements are welcomed additions, especially for those who have played the songs to the point that they comprise sixteen of their iTunes top 25 playlist.

The Remedy Club Tour will make a great addition to any worship enthusiasts library, and is bound to sell. Is it a must have? Not necessarily. However if you’re an ardent Crowder fan, be sure to pick it up.

Rating: 3.5 out of 5
Street Date: August 19th 2008

Track Listing:

1.) I’m Just Trying to Make You Sing
2.) The Glory of It All
3.) Can You Feel It?
4.) Everything Glorious
5.) …Neverending…
6.) Here Is Our King
7.) You Are My Joy
8.) We Won’t Be Quiet
9.) Foreveranever… Ect…
10.) A Beautiful Collision
11.) Never Let Go
12.) Remedy
13.) I Saw The Light
14.) No One Like You
15.) O Praise Him
16.) Surely We Can Change

Sophomore records can be career defining. Family Force 5 created quite a splash in the pool that is the Christian music world with their debut, a self described crunk rock album, which spawned numerous hits from “Love Addict” to “Kountry Gentlemen.” When vocalist Solomon Olds said they were looking to “blow away” their last record, fans and critics knew such a feat would be a huge accomplishment. Needless to say, “Dance or Die” has a lot of hype surrounding it.

As the frontman himself put it, “Dance or Die” is indeed, as the title suggests, a dance album. However, the amount to which it caters to conventional dance music orthodoxy is minimal. Some songs are fusions of in your face vocals and crunchy guitars (think their debut), while others are more experimental carrying pop and punk overtones, all done over a bedrock of dance beats.

The opening title track blends retro and modern dance elements, borrowing disco sounds from an era past and mixing them with auto-tuned vocals, an experiment that works surprisingly well. “Get Your Back Off The Wall” is done in typical FF5 fashion (think Love Addict and Earthquake), hard hitting, and despite being a tad repetitive, shapes to be a solid track. “Share It with Me” is a stand out track, and will either be loved or hated, as it sounds “boy-bandish,” almost as something on an Nsync record. “The First Time” also brings a slight surprise, as it’s a pop-punk styled song.

Not all songs are as risky. “D-I-E-4-Y-O-U” and “Fever” will remind fans why they fell in love with FF5 in the first place. “Radiator” is one of the strongest points on the record, and possibly one of the most fun rock songs to come around in a while. Highlights include the begging to be sung along to title track, the next Love Addict “Get Your Back Off The Wall,” lead single “Fever,” and the closing “Radiator.”

“Dance or Die” doesn’t stray far from “Business,” only adding a dance tone, and liberal use of the auto-tuner, a device which “smooths” the voice (think T-Paine). While FF5 is indeed a group that can not only pull off, but benefit from this vocal smoother, it makes a few tracks, more noticeably the slower ballads, feel a bit unnatural / overproduced. Also, while their debut offered lyrics which reflected on faith and at times more directly, the Creator (“Love You to Death,” “Face Down,” “Never Let Me Go”) this time around, the theme is overwhelming “dance.”

“Dance or Die” adds to the short list of fun danceable rock songs. If you haven’t liked Family Force 5 to begin with, there’s little here to grab your attention. If you’ve yet to check out FF5, or have been a doubter because of their over the top tactics and stage show, now is your time to give in. It’s dance or die.

Rating: 4 out of 5
Street Date: August 19th, 2008
Label: Tooth and Nail

Track Listing:
1.) Dance or Die
2.) Get Your Back Off The Wall
3.) Rip It Up
4.) How in the World
5.) Fever
6.) Party Foul
7.) D-I-E-4-Y-O-U
8.) Share It with Me
9.) The First Time
10.) Wake the Dead
11.) Radiator