Plugged ®

29 Jun 2010

Dr. Seahorse - Symptons Of Trend

image

Artist: Dr. Seahorse
Album: Symptons Of Trend
Year: 2009
Label: Mirth Records
Myspace: http://www.myspace.com/drseahorsemusic
Facebook: http://www.facebook.com/drseahorsemusic
Twitter: @drseahorsemusic
Buy: iTunes - Amazon
Sounds Like: Trevor Davis, Justim Timberlake, The Postal Service, Michael Jackson, Owl City, Suhonen Marcos
Rating: 5/5 ♥♥♥♥♥

Trevor Davis and Suhonen Marcos join together in an accidentally exquisite musical adventure. The duo began to dream of since June 2007 with an electronic project and fresh influences from the brazen sound of Michael Jackson, down to the babbling harmony of The Postal Service.

This bizarre fantasy designed to “Symptoms Of Trend” where Trevor away from self-conscious in a simple acoustic sound, operates with full vocal agility, while his teammate machines energetic rhythms and smooth sounds of percussion. From the first strings in “6th Day” that seem an homage to the classic “Singing In The Rain”, to the titletrack “Symptoms Of Trend” with a seductive melody reminiscent of Justin Timberlake. Even the sublime roars in “Invisible Lion” become a mix of emotions by declaring that a man should be as dependent as a child if he wants the strength to remain true. The finest moments come with “One With The Weeds” and “Reason Why”, each with a particular magic, brimming with amazing vocal and lyrical talent. The romantic “Made Me Whole” pours almost vanished passion between the Marcos’ sequences; as if this were not enough, “Help Me Out”  dopes with those electric pianos, and those chords lost in the silence of the night.

“Dreams can become prayers” and Dr. Seahorse is complemented by the mysteries of this winter cold.

image

Trevor Davis y Suhonen Marcos se unen en una aventura musical accidentadamente exquisita. El dúo empezó a soñar desde junio del 2007 con un proyecto electrónico y fresco, influenciándose desde el desvergonzado sonido de Michael Jackson, hasta llegar a la balbuceante armonía de The Postal Service.

Esta extravagante fantasía concibió a “Symptoms Of Trend” dónde Trevor lejos de cohibirse en un mero sonido acústico, se desenvuelve con total agilidad vocal, mientras que su compañero maquina ritmos enérgicos y suaves sonidos de percusión. Desde los primeras cuerdas en “6th Day” que parecen un homenaje al clásico “Singing In The Rain” hasta el titletrack “Symptoms Of Trend” con una seductora melodía que recuerda a Justin Timberlake. Incluso los rugidos sublimes en “Invisible Lion” se convierten en una mezcla de emociones al declarar que un hombre debe ser tan dependiente como un niño si desea la fuerza para permanecer en la verdad. Los momentos más delicados llegan con “One With The Weeds” y “Reason Why”, ambas con una magia particular, rebosando talento vocal e increíbles líricas. La romántica “Made Me Whole” derrama pasión casi desvanecida entre las secuencias de Marcos, y como si fuera poco, “Help Me Out” nos dopa con aquellos pianos eléctricos y esos acordes perdidos en el silencio de la noche.

“Los sueños se pueden convertir en oraciones”, y Dr. Seahorse se complementa con los misterios de este frío de invierno.

30 Apr 2010

Derek Webb - Stockholm Syndrome

image

Artist: Stockholm Syndrome
Album: Derek Webb
Year: 2009
Label: INO Records/Columbia Records
Website: http://derekwebb.com/
Myspace: http://www.myspace.com/derekwebb
Facebook: http://www.facebook.com/derekwebb
Twitter: @derekwebb @ssyndrome
Buy: iTunes - Amazon - Official Store
Sounds Like: Caedmon’s Call, Justin Timberlake, U2, Coldplay, Radiohead, Moby, John Mellencamp, Gnarls Barkley, The Beatles, Jars Of Clay, Ringside, Wilco, Madlib, Steve Taylor, Portishead, Doug Pinnick, David Bazaan, Massive Attack, Thom Yorke, Bob Dylan, J.D. Salinger, Over the Rhine, Beck, Joaquin Phoenix, John Reuben, Green Day, Depeche Mode, Bjork, Andrew Peterson, Rich Mullins, New Order, MuteMath
Rating: 5/5 ♥♥♥♥♥

Many times the controversy can be exquisite. Who would have thought that a former member of Caedmon’s Call, which is usually used to maintain a message far more reserved, it would be causing so much commotion with his new album “Stockholm Syndrome”? So, Derek Webb has created a symphony of crude but effective exaggerated spirituality. Tired of the acoustic side, with the support of his comrade Josh Moore (Bethany Dillon, Slim Thug, Bun B.), the album’s production is summarized in an eclectic collection of rock/pop and experimental electronic.

Fundamentally, Webb music mutation lies in the subtle use of electronic textures and that is how “Opening Credits” starts the disc with a similar flash to Radiohead. The metaphorical and affable “Black Eye” encapsulates a message about physical abuse in a relationship: “Time is no friend to the ones who wait / For daylight to come / Time looks the same at the ones who hate / And the ones that do nothing”. Fragile touches of jazz and hip-hop, culminating in a delirious prominence of synthesizers. “Cobra Con” trace electro-pop and hip-hop grooves, slow and not aggressive, but with a heavy rhythm reminiscent of Moby with those banjo chords and the chimera voice of Webb. It is a breath of perseverance and love to win the conflict, while the crazy reference of ask God to bless us in our sin: “God bless these bombs / Baptize this rope / Lie with us in the bed we’ve made”. Suddenly, seductive sounds invade our ears with “Freddie Please”, an open letter to a Reverend named Fred Phelps who hated homosexuals. The lyric is absorbed by the melodies that seem frozen in time (to be exact in the 50’s) in an almost ironic but radical way: “Freddie, please / How could you do this to me? / How could you tell me you love me / When you hate me? / Freddie, please / The stone’s been rolled away / But your picketing my grave / For lovin’ the things you hate / But why do you seek / The living among the dead?”. With “The Spirit vs. The Kick Drum”, Derek is confronted with the problems of modern church trapped in mundane trends and ignoring the essence and the most relevant things : “Like sex without love / Like peace without the dove / Like a crime scene without the blood / Like heaven without gates / Like hell without flames / Like life without pain / I don’t want the Father, you know I want a vending machine / I don’t want the Son, you know I want a jury of peers / I don’t want the Spirit, you know I want the kick drum”. Musically we could say that MuteMath and U2, gave voice cathedra to Webb, and he was forced to include fragments of organs and bass in a very organic way. We got to meet the apple of discord. The controversial “What Matters More” has caused even more critical than those told the apostle Paul for many years ago. Derek condemn the evangelical church in their obsessive zeal against homosexuality, but also focuses on prostitution as a convenience of our values or our fears and prejudices: “You say you always treat others like you wanted to be / You must love being hated for your sexuality / We can talk and debate it until were blue in the face / About the language and tradition that he’s coming to save / Meanwhile we sit just like we don’t give a shit / About 50,000 people that are dying today”. The details and arrangements of music in this track are profanely perfect. The political theme comes with “The State”, a bittersweet lament of how the church and the state attempted to join in marriage designing corruption, lack of morals and the current concept of power. Synchronously, “The Proverbial Gun” shows a quiet tension that uses both lyrics in the following lines: “Right and wrong were written on my heart / And not just in the laws that condemn me / Now with Caesar satisfied I can even do the things / That should offend me / Now I can buy the proverbial gun / And shoot the proverbial child / While my uncle looks me in the eye / And speaks of freedom”. An interesting study of the ambiguous nature of Eros relationship between a man and a woman is carved into the defiant “I Love/Hate You”. The protagonist loves the person who is singing about, but he also hates being tied to her: “But your love is a noose around my neck / I give up and I know I will regret it / Your love is a weight around my legs / But I don’t know who I am unless you’re holding me”. Honestly, I love the new face of Webb, which has added epic atmospheric sounds as heard in “Becoming A Slave”, which is injected with bells and pianos to produce a melodic formula of racial injustice and slavery summarized in one sentence: “It’s simple / It’s so simple / They’re not like us”. Unfortunately, it adds a kind of refrain in the end, which I think ruins the wonderful progression in a few seconds. “Jena & Jimmy” tells the story of a boy who attends a meeting and heard a girl talking about social injustice and changing the world, pretending to care and supporting everything she says with the only reason to end in bed with her: “She told him stories of social injustices and constitutional rights / He smirked and turned his head / ‘Just lighten up’ he said, ‘Baby we got all night’”. While “Heaven” may sound like an old hymn sound, it makes a stark indictment of how Christians live on earth, a chaotic portrait of profanity religious: “I heard Jesus Christ was there / He had a car that’s bulletproof / That way everyone is safe / From the man who tells the truth”. Like any album has slip, we find “What You Give Up To Get It”, that in comparison with their predecessors, it lacks creativity and musical flexibility; I would not compare it with Moby. Either way, tells us about the discernment and knowledge of the limits and sacrifices: “Like sex when you’re too young / Like home when you’re too drunk / Like fame for what you’re not / Like joy that you bought / Stand back / You love it now but it’s too much”. Finally, “American Flag Umbrella” sticks with pianos, freedom and equality. It talks about justice that is often intuitively counterproductive with mercy and forgiveness: “Please take your hands off my brother / Please take your laws off my lover / The agents of law should always be blind and on time / Till there’s freedom for everyone”.

“Stockholm Syndrome” is a theological reform that shakes the modern church, trying to make their deviant ways to react to give hope. Derek Webb is a poet or a prophet? Or maybe just a provocateur?

image

Muchas veces la controversia puede resultar exquisita. ¿Quién iba a pensar que un ex-integrante de Caedmon’s Call, que por lo general se acostumbra a mantener un mensaje mucho más reservado, iba a estar causando tanta conmoción con su nuevo álbum “Stockholm Syndrome”? Y es que Derek Webb ha creado una sinfonía exagerada de cruda pero eficaz espiritualidad. Hastiado de la faceta acústica y con el apoyo de su camarada Josh Moore (Bethany Dillon, Slim Thug, Bun B.), la producción del álbum se resume en una ecléctica colección de rock/pop y electrónica experimental.

Fundamentalmente, la mutación musical de Webb radica en el sutil uso de texturas electrónicas y es así como “Opening Credits” apertura el disco con un parpadeo similar al de Radiohead. La metafórica y afable “Black Eye” encapsula un mensaje acerca del abuso físico en una relación: “Time is no friend to the ones who wait / For daylight to come / Time looks the same at the ones who hate / And the ones that do nothing”. Frágiles pinceladas de jazz y hip-hop que culminan en un delirante protagonismo de sintetizadores. “Cobra Con” traza surcos de electro-pop y hip-hop, lentos y no agresivos, pero con una rítmica pesada que recuerda a Moby con aquellas acordes de banjo y la quimera voz de Webb. Es un aliento de perseverancia y amor a ganar los conflictos, mientras que se hace la desquiciada referencia de pedir a Dios que nos bendiga en nuestro pecado: “God bless these bombs / Baptize this rope / Lie with us in the bed we’ve made”. De pronto, seductores sonidos invaden nuestros oídos con “Freddie Please”, una carta abierta hacia un reverendo llamado Fred Phelps que odiaba a los homosexuales. La lírica es absorbida por las melodías que parecen detenidas en el tiempo (para ser exactos en los 50’s) de una manera casi irónica pero radical: “Freddie, please / How could you do this to me? / How could you tell me you love me / When you hate me? / Freddie, please / The stone’s been rolled away / But your picketing my grave / For lovin’ the things you hate / But why do you seek / The living among the dead?”. Con “The Spirit vs. The Kick Drum”, Derek se enfrenta a los problemas de la iglesia moderna, atrapada en las tendencias mundanas y dejando de lado la esencia y lo más relevante: “Like sex without love / Like peace without the dove / Like a crime scene without the blood / Like heaven without gates / Like hell without flames / Like life without pain / I don’t want the Father, you know I want a vending machine / I don’t want the Son, you know I want a jury of peers / I don’t want the Spirit, you know I want the kick drum”. Musicalmente podríamos decir que MuteMath y U2 le dieron una cátedra vocal a Webb, y le obligaron a incluir fragmentos de órganos y bajo de una manera muy orgánica. Llegamos al encuentro de la manzana de la discordia. La controversial “What Matters More” ha provocado incluso más críticas que las que se le dijeron al apóstol Pablo hace muchos años. Derek condena a la iglesia evangélica en su afán obsesivo contra la homosexualidad, pero también se centra en la prostitución de nuestros valores por conveniencia o por nuestros miedos y prejuicios: “You say you always treat others like you wanted to be / You must love being hated for your sexuality / We can talk and debate it until were blue in the face / About the language and tradition that he’s coming to save / Meanwhile we sit just like we don’t give a shit / About 50,000 people that are dying today”. Los detalles y arreglos musicales en este track son profanamente perfectos. La temática política llega con “The State”, un agridulce lamento de cómo la iglesia y el estado intentaron unirse en matrimonio concibiendo así la corrupción, la falta de moral y el actual concepto de poder. Sincronizadamente, “The Proverbial Gun” nos muestra una apacible tensión que consume ambas líricas en las siguientes líneas: “Right and wrong were written on my heart / And not just in the laws that condemn me / Now with Caesar satisfied I can even do the things / That should offend me / Now I can buy the proverbial gun / And shoot the proverbial child / While my uncle looks me in the eye / And speaks of freedom”. Un interesante estudio sobre la naturaleza ambigua de la relación eros entre un hombre y una mujer es esculpida en la desafiante “I Love/Hate You”. El protagonista ama a la persona a la que está cantando, sin embargo odia estar atado a ella: “But your love is a noose around my neck / I give up and I know I will regret it / Your love is a weight around my legs / But I don’t know who I am unless you’re holding me”. Sinceramente, me encanta la nueva faceta de Webb, que ha agregado épicos sonidos atmosféricos como oímos en “Becoming A Slave”, que se inyecta con campanas y pianos para producir una fórmula melódica sobre la injusticia racial y la esclavitud resumida en sólo una frase: “It’s simple / It’s so simple / They’re not like us”. Lamentablemente, se agrega una especie de estribillo al final, que a mi parecer arruina la maravillosa progresión de hace algunos segundos. “Jena & Jimmy” cuenta la historia de un chico que asiste a una reunión y que escucha a una chica hablar sobre la injusticia social y cambiar el mundo, pretendiendo que le importa y apoyando todo lo que ella dice con el único motivo de terminar en la cama con ella: “She told him stories of social injustices and constitutional rights / He smirked and turned his head / ‘Just lighten up’ he said, ‘Baby we got all night’”. Si bien, “Heaven” puede sonar como un antiguo himno acústico, hace una cruda acusación de cómo los cristianos viven en la tierra, un retrato caótico de la profanidad religiosa: “I heard Jesus Christ was there / He had a car that’s bulletproof / That way everyone is safe / From the man who tells the truth”. Como todo álbum tiene un desliz, nos encontramos con “What You Give Up To Get It”, que a comparación de sus predecesores, carece de creatividad y flexibilidad musical, no me atrevería a compararla con Moby. De cualquier modo, nos habla sobre el discernimiento y el conocimiento de los límites y los sacrificios: “Like sex when you’re too young / Like home when you’re too drunk / Like fame for what you’re not / Like joy that you bought / Stand back / You love it now but it’s too much”. Finalmente, “American Flag Umbrella” se ciñe de pianos, libertad e igualdad. Habla sobre la justicia que muchas veces es intuitivamente contraproducente con la misericordia y el perdón: “Please take your hands off my brother / Please take your laws off my lover / The agents of law should always be blind and on time / Till there’s freedom for everyone”.

“Stockholm Syndrome” es una reforma teológica que sacude a la iglesia moderna, intentando hacerla reaccionar de sus desviadas maneras de dar esperanza. Derek Webb es un poeta o un profeta? O tal vez solamente un provocador?

19 Apr 2010

Lucas Parry - Alive

image

Artist: Alive
Album: Lucas Parry
Year: 2008
Label: Lucas Parry
Website: http://www.lucasparry.com/
Myspace: http://www.myspace.com/lucasparry
Facebook: http://www.facebook.com/mrlucasparry
Twitter: @lucasparry
Buy: iTunes - Amazon - Official Store
Sounds Like: Tree63, Delirious?, Me In Motion, Jackson Waters, DecembeRadio, Needtobreathe, Nate Sallie, Gavin DeGraw, The Black Crowes, Train, Coldplay, U2, Sting, The Beatles, Lenny Kravitz, Stephen Curtis Chapman, Green Day, 3 Doors Down, Keith Urban, Rascal Flatts, Maroon 5, Marc Anthony, Five For Fighting, Jars Of Clay, Jason Gray
Rating: 4/5 ♥♥♥♥

Lucas Parry, a spirited missionary, an artist and an Australian-born dynamic storyteller, shares his heart through the release of “Alive”, a contagious and irresistible message that encourages people to pursue their personal mission from God to their lives. This album combines his own musical tastes and the talent that God has given him as a composer, singer, guitarist and producer to create a cd full of energy and passion that comes from God.

“Ocean” opens the disc with solid guitar strumming on an impulsivity compass progression. The lyric is inspired by Psalm 139: “Your love is like the ocean / As far as deep as far as wide / I don’t deserve you / That’s the beauty of your grace”. The blistering “Something Beautiful” talks about the light we have to show the world, not hide beneath the fear and low self-esteem: “I know that you are something beautiful / A diamond in the rough that you just can’t hide / I know that you are something beautiful / It’s time for you to let it shine”. The titletrack “Alive” encourages us not to look at the circumstances and simply take a step of faith and believe. Then a voice pronounce excerpts from Isaiah 61:1, Isaiah 54 17, 1 John 4:4, Philippians 4:13, Romans 8:17, while the chorus proclaims total devotion to God: “I surrender to your Call / I lay down and give you all / Would you take this life and make me yours / I am alive, I am alive”. Acoustic guitars make their way to “Breath Of God”, a song of revival in search of mercy and the fire of God. “Dance With Angels” sings those with tears in his eyes, looking for answers in the emptiness (Proverbs 3:5): “Trust in the Lord with all your heart / Not on your own understanding / In every way you crown Him Lord of all / Then you come laying down your pride / You’ll dance with angels tonight / There in surrender you’ll find calmness from the storm”. Powerful guitars snatch energy on “Rise Up”, the cry of the Church of God raising a banner and proclaiming a spiritual awakening in the body of Christ to work in unity. “October Eyes” is immersed in the romance, in the fall and love: “Her eyes are like October skies / I’m blinded by her disguise / I search to find but time flies by / I’m mesmerized by her october eyes”. With gospel, blues and soul features, “Better Man” sounds like DecembeRadio and Needtobreathe. It is a prayer to God for being a better father: “I want to be a better man / Make you proud to be my / Oh my little man / Though I’ll never be a superman and I may never fly the world / But like my daddy was for me / I will be here for you”. The dynamic “Shine”, reminds us of the mission we have as children of God and compare us to a city on a hill that needs to shine with the hope of eternity. “You Are Loved” is constructed through the sweet pianos and acoustic guitars, talking about the incomprehensible love of God who answers the prayer of the afflicted spreading hope and mercy: “You are not forgotten / He has bottled all your tears, oh every tear / You are not forgotten / He has sent me here to be His hands and feet / To show his love for you”. Finally, “Fly Away” was inspired by the freedom of unity in a world of color, in an atmosphere where gravity has no limits: “Reach out your arm, and take the hand of another / When every color becomes one and we will be free”.

“I wanted to create an album that reflects my personal journey over the last three years. God has shown me what really matters in life … people. The core of everything we do should be to love God and to love people”, says Parry behind “Alive”. Simple and complex compositions with a small sample of an emerging talent. Lucas Parry has a passion simply contagious.

image

Lucas Parry, un impulsador misionero, un artista y un dinámico narrador de historias de origen australiano, nos comparte su corazón a través del lanzamiento de “Alive”: un mensaje contagioso e irresistible que anima a la gente a perseguir la misión personal de Dios para sus vidas. Este álbum combina sus propios gustos musicales y el talento que Dios le ha regalado como compositor, cantante, guitarrista y productor al crear un cd lleno de energía y pasión que brota de Dios.

“Ocean” apertura el disco con sólidos rasgueos de guitarras en una impulsadora progresión de compases. La lírica se inspira en el Salmo 139: “Your love is like the ocean / As far as deep as far as wide / I don’t deserve you / That’s the beauty of your grace”. La abrasadora “Something Beautiful” habla sobre la luz que tenemos que mostrar al mundo, sin escondernos debajo del temor y la falta de autoestima: “I know that you are something beautiful / A diamond in the rough that you just can’t hide / I know that you are something beautiful / It’s time for you to let it shine”. El titletrack “Alive” nos anima a no mirar las circunstancias y simplemente tomar un paso de fe y creer. Luego una voz pronuncia pasajes extraídos de Isaías 61:1; Isaías 54 17; 1 Juan 4:4; Filipenses 4:13; Romanos 8:17, mientras que los coros proclaman total devoción a Dios: “I surrender to your Call / I lay down and give you all / Would you take this life and make me yours / I am alive, I am alive”. Guitarras acústicas se abren paso con “Breath Of God”, un canto de avivamiento en búsqueda de misericordia y del fuego de Dios. “Dance With Angels” le canta aquellas personas con lágrimas en los ojos, que buscan respuestas en medio del vacío (Proverbios 3:5): “Trust in the Lord with all your heart / Not on your own understanding / In every way you crown Him Lord of all / Then you come laying down your pride / You’ll dance with angels tonight / There in surrender you’ll find calmness from the storm”. Potentes guitarras se arrebatan de energía en “Rise Up”, el clamor de la Iglesia levantando la bandera de Dios y pregonando un despertar espiritual en el cuerpo de Cristo a trabajar en unidad. “October Eyes” se sumerge en el romanticismo, en el otoño y el amor: “Her eyes are like October skies / I’m blinded by her disguise / I search to find but time flies by / I’m mesmerized by her october eyes”. Con rasgos góspel, blues y soul, “Better Man” se asemeja a DecembeRadio y Needtobreathe. Es una oración a Dios pidiéndole ser un mejor padre: “I want to be a better man / Make you proud to be my / Oh my little man / Though I’ll never be a superman and I may never fly the world / But like my daddy was for me / I will be here for you”. La dinámica “Shine”, nos recuerda la misión que tenemos como hijos de Dios y nos compara a una ciudad en una colina que necesita brillar con la esperanza de eternidad. “You Are Loved” se construye a través de dulces pianos y guitarras acústicas, que hablan sobre el incomprensible amor de Dios que contesta la oración del afligido extendiendo esperanza y misericordia: “You are not forgotten / He has bottled all your tears, oh every tear / You are not forgotten / He has sent me here to be His hands and feet / To show his love for you”. Finalmente, “Fly Away” se inspira en la libertad de la unidad en un mundo de color, en una atmósfera donde la gravedad no tiene límites: “Reach out your arm, and take the hand of another / When every color becomes one and we will be free”.

“Quise crear un álbum que refleje mi trayectoria personal en los últimos tres años. Dios me ha revelado lo que realmente importa en la vida… la gente. El núcleo de todo lo que hacemos debe ser amar a Dios y amar a la gente” comenta Parry acerca de “Alive”. Simples y complejas composiciones, con una pequeña muestra de un talento emergente. Lucas Parry posee una pasión simplemente contagiosa.

7 Apr 2010

Brave Saint Saturn - Anti-Meridian

image

Artist: Brave Saint Saturn
Album: Anti-Meridian
Year: 2009
Label: Department Of Biophysics
Website: http://www.bravesaintsaturn.com/
Myspace: http://www.myspace.com/bravesaintsaturn
Facebook: http://www.facebook.com/bravesaintsaturn
Twitter: @BraveSaint
Buy: iTunes - Amazon - Official Store
Sounds Like: Earhtbound, ELO, Five Iron Frenzy, Roper, David Bowie, Radiohead, Mogwai, Derek Webb
Rating: 5/5 ♥♥♥♥♥

I don’t think I was the only one waiting 5 long years to see Brave Saint Saturn conclude this magnificent musical history that began with the name of Five Iron Frenzy. A band that creates conceptual albums elaborated about space travels, with interplanetary synthesized beats. This is how we define the trilogy called “Anti-Meridian”, with 17 songs that exploit themes of despair, failure, and salvation. Intelligent lyrics that are based on faith, life, loss, loneliness and the love of God.

“‘They shall have stars at elbow and foot / Though they go mad, they shall be sane / Though they sink through the sea, they shall rise again / Though lovers be lost, love shall not / And death shall have no dominion”. The opening song, “Here Is The News” receives two inspirations. Electric Light Orchestra originally wrote this song and the intro is the story of a famous poem by Dylan Thomas. Quirky synthesizers sound and distorted guitar riffs that are consumed in an instant to give way to the next track. “Mercenary” is a Reese Roper’s classic song with catchy, happy tunes, but it criticizes the actions of the society: “Armed to the teeth, score one for treachery / I am a mercenary / There’s more lies here, than we can all bury / I am a mercenary”. Deviating from previous sound, “Starling” becomes acoustic, sometimes it sounds like a lament. It tells the suffering of a child and a small bird whose he fatally injured, and asks God: “Raise their souls up to the sky / Why must helpless creatures die?”. An illustration of how Christians sometimes hurt those who they trying to save. Dennis Culp stars “Underground”, a protest against the totalitarian ideologies: “Real change doesn’t come from a mandate / Real love you cannot legislate”. Argues that the music created by the love cannot be corrupted by the culture, society and entertainment; while the guitars add a touch of grunge to synthesizers. “When You Burn Too Fast” is consumed with fear and regret. The melody of the verses ironically resembles “Hotel California” by The Eagles, with dark background vocals, an unwavering xylophone and heads bowed electric guitars. It floods of sentiment and reflection on how ephemeral and treacherous is the fame. Fortunately, “Through Depths Of Twilight” brings hope to our ears: “And we will burn the starless night / The truth will ring through depths of twilight”. Reese sings a few references to Abraham Lincoln and Martin Luther King on racism, slavery, equality and beautiful pictures about shining the light of Christ into the darkness. Dennis sings in the impulsivity and exhilarating “Hero’s Homecoming”, the triumphal return of the band: “Underneath the smiles / A melancholy weighs upon them all the while / They can’t forget the cost / The innocence of youth and brave ones who were lost”. Reese’s thoughts are reflected in “Ammodramus” telling their new experience of life on earth. The excellent harmonious voices exercise of Reese and Dennis makes “Fields Of The Fallen” a beautiful work of art that shows the struggle of the search for God. Abundant acoustic guitars and synthesizers in a crude delicate lyric: ““I’m trying to break through / I am reaching for the sky / I am frayed, torn in two / Through fields of the fallen / Lost in the gray”. An introspective look to the sad modern scheme of just mediocre and irresponsible parenting, it’s how we find the painful “Always Just Beneath The Dawn”. Pain and hope in the same song: “Boys need fathers, every daughter / Every broken heart so gone / I believe that Love is greater / Never ceasing, always hoping / Always just beneath the dawn”. The desire to lose the fame and recognition is reflected in “Fortress Of Solitude”. An odd, progressive melody that is full of references to Superman, and his frustrations. Based on the biblical portion of Matthew 5:5-9 and the Beatitudes, the band is not shy about criticizing the suspicious prosperity on “Blessed Are The Land Mines”. A crude satire of the Christian church that calls itself as Christian while supports the wars and took shelter under the pockets of the wealthy instead of showing the love of God to the world. Powerful guitars and a versatile vocal performance that echoes your headphones. “Aegolius” is another of those spoken interludes and shows us a perspective of life after a space mission. “Begin Again” shines through the grace and second chances. Small traces of reggae thanks to the beat provided by the bass and guitar: “Fire comes and it burns all the brush away / Rain comes down / Snow falling in a lifeless grey / Sun comes down / Something new comes cautiously from the dust / And spreads its limbs toward the heavens”. I like the way the album is firing, and in this way we find “These Frail Hands” which speaks about hope in God, a postulate of surrender and humiliation to acknowledge that we are nothing without Him, and the magnitude of His own love toward us: “And these frail hands / They tremble as they pen perhaps their last / And these weak words / Can never say what cannot be surpassed / I need your love / And most of all I want to feel your peace / I need your love / Let everything that you are not decrease”. The acoustic work is simply glorious. “Invictus” closes this route with a gold brooch, in a sincere praise to the King of Kings, the Invincible and Eternal God. Is the prayer of King David who along with the voice of Amy (Roper’s wife) raised a humble living sacrifice. The bonus track “Here Is The News (ELO Style Radio Edit)” again mesmerizes us with those electric spasms and its inspiring concept.

Stories from an alien and captivating perspective. The creativity of Brave Saint Saturn is immeasurable, both lyrically and musically. A well-deserved, historical, epic end for a band that has retained its essence through the years. “Anti-Meridiam” does not appeal to popular tastes, but it touches the heartstrings.

image

Creo que no he sido el único en esperar 5 largos años por ver a Brave Santi Saturn concluír esta magnífica historia musical que empezó con el nombre de Five Iron Frenzy. Una banda que crea álbumes conceptuales elaborados sobre viajes espaciales, con interplanetarios latidos sintetizados. Es así como definimos la trilogía llamada “Anti-Meridian”, con 17 canciones que explotan temas de desesperación, fracaso y salvación. Letras inteligentes que se basan en la fe, la vida, la pérdida, la soledad y el amor de Dios.

“‘They shall have stars at elbow and foot / Though they go mad, they shall be sane / Though they sink through the sea, they shall rise again / Though lovers be lost, love shall not / And death shall have no dominion”. La canción de apertura, “Here Is The News” recibe dos inspiraciones. Originalmente Electric Light Orchestra escribió esta canción y la introducción es el relato de un famoso poema de Dylan Thomas. Extravagantes sintetizadores sólidos riffs de guitarras distorsionadas que se consumen en un instante para dar paso al siguiente track. “Mercenary” es una clásica canción de Reese Roper, con pegajosas y alegres melodías, pero que critica los actos de la sociedad: “Armed to the teeth, score one for treachery / I am a mercenary / There’s more lies here, than we can all bury / I am a mercenary”. Desviándose del sonido anterior, “Starling” se torna acústico, a veces suena como un lamento. Nos relata el sufrimiento de un niño y un pequeño pájaro al que lesionó mortalmente, y le pregunta a Dios: “Raise their souls up to the sky / Why must helpless creatures die?”. Una ilustración de cómo a veces los cristianos lastiman a aquellos que tratan de salvar. Dennis Culp protagoniza “Underground”, una protesta hacia las ideologías totalitarias: “Real change doesn’t come from a mandate / Real love you cannot legislate”. Sostiene además que la música creada por el amor no puede ser corrompida por la cultura, la sociedad o el espectáculo, mientras que las guitarras le dan un toque grunge a los sintetizadores. “When You Burn Too Fast” se consumen con el miedo y el arrepentimiento. La melodía de las estrofas se asemeja irónicamente a “Hotel California” de The Eagles; con unos tenebrosos coros de fondo, un inquebrantable xilófono y cabizbajas guitarras eléctricas. Se inunda de sentimiento y reflexión acerca de lo efímero y traicionero que es la fama. Afortunadamente, “Through Depths Of Twilight” trae esperanza a nuestros oídos: “And we will burn the starless night / The truth will ring through depths of twilight”. Reese canta algunas referencias de Abraham Lincoln y Martin Luther King con respecto al racismo, la esclavitud, la igualdad y hermosas imágenes acerca de brillar con la luz de Cristo en la oscuridad. Dennis nos canta en la impulsadora y regocijante “Hero’s Homecoming” sobre el desfile triunfal del retorno de la banda: “Underneath the smiles / A melancholy weighs upon them all the while / They can’t forget the cost / The innocence of youth and brave ones who were lost”. Los pensamientos de Reese se plasman en “Ammodramus” relatando su nueva experiencia de vida en la tierra. El excelente ejercicio armónico de las voces de Reese y Dennis hace de “Fields Of The Fallen” toda una hermosa obra de arte que muestra la lucha de la búsqueda de Dios. Abundantes guitarras acústicas y delicados sintetizadores en una cruda lírica: “I’m trying to break through / I am reaching for the sky / I am frayed, torn in two / Through fields of the fallen / Lost in the gray”. Una mirada introspectiva al triste esquema moderno de paternidad mediocre e irresponsable, es como encontramos a la dolorosa “Always Just Beneath The Dawn”. Dolor y esperanza en una misma canción: “Boys need fathers, every daughter / Every broken heart so gone / I believe that Love is greater / Never ceasing, always hoping / Always just beneath the dawn”. El deseo de perder la fama y reconocimiento se refleja en “Fortress Of Solitude”. Una extraña y progresiva melodía que se llena de referencias a Superman, y sus frustraciones. Basada en la porción bíblica de Mateo 5:5-9 y la Bienaventuranzas, la banda no se avergüenza de criticar la prosperidad sospechosa en “Blessed Are The Land Mines”. Una cruda sátira de la iglesia que se dice cristiana mientras que apoya las guerras y busca cobijarse bajo los bolsillos de los acaudalados en lugar de mostrar el amor de Dios al mundo. Potentes guitarras y una versátil performance vocal que retumba tus audífonos. “Aegolius” es otro de esos interludios hablados y nos muestra una perspectiva sobre la vida después de una misión espacial. “Begin Again” se trasluce por medio de la gracia y las segundas oportunidades. Pequeños trazos de reggae gracias al beat proporcionado por el bajo y la guitarra: “Fire comes and it burns all the brush away / Rain comes down / Snow falling in a lifeless grey / Sun comes down / Something new comes cautiously from the dust / And spreads its limbs toward the heavens”. Me gusta el modo en que el álbum se va despidiendo, y en este trayecto hallamos “These Frail Hands” que habla sobre la esperanza en Dios, en un postulado de rendición y humillación al reconocer que no somos nada sin Él, y la magnitud de su amor para con nosotros: “And these frail hands / They tremble as they pen perhaps their last / And these weak words / Can never say what cannot be surpassed / I need your love / And most of all I want to feel your peace / I need your love / Let everything that you are not decrease”. El trabajo acústico es simplemente glorioso. “Invictus” cierra con broche de oro este recorrido, en una alabanza sincera al Rey de Reyes, al Invencible y Eterno Dios. Es la oración del rey David que junto a la voz de Amy (esposa de Roper) elevan un quebrantado y humilde sacrificio vivo. El bonus track “Here Is The News (ELO Style Radio Edit)” nuevamente nos hipnotiza con sus eléctricos espasmos y aquel concepto inspirador.

Historias desde una perspectiva alienígena y cautivante. La creatividad de Brave Saint Saturn es inmensurable, tanto lirica como musicalmente. Un final bien merecido, histórico, épico para una banda que ha mantenido su esencia a través de los años. “Anti-Meridiam” no apela a los gustos populares, pero que toca las fibras del corazón.

5 Apr 2010

The Acclaim - The Time Is Now (EP)

image

Artist: The Acclaim
Album: The Time Is Now - EP
Year: 2009
Label: AM Music
Website: http://www.theacclaimmusic.com/
Myspace: http://www.myspace.com/theacclaimband
Facebook: http://www.facebook.com/theacclaim
Twitter: @TheAcclaim
Buy: iTunes - Amazon
Sounds Like: Wilco, MuteMath, U2, Muse, My Morning Jacket, The Boxer Rebellion, Starfield, Edward Mote, Farewell Flight, Third Day, Angels & Airwaves
Rating: 4/5 ♥♥♥

“The Acclaim’s mission is to advance a movement of worship that embodies the cry of a generation whose lives have been set aside for the Kingdom of God among a depraved culture”. Formed by Michael Rabb (lead vocals, acoustic guitar, electric guitar), Luther Lessor (lead guitars), Drew Konzelman (electric guitar, mandolin, vocals), Andrew Hartung (strings, Theremin, fiddle), Aaron McMullen (drums, vocals) Derek Konzelman (bass, vocals) and David Konzelman (keyboards, vocals) are prepared for the release of their debut entitled “The Time Is Now – EP”. Michael Rabb wrote all the songs on the EP and this detail makes it even more interesting is the fact of listen them.

With features from MuteMath and Farewell Flight, the sweeping “Give It All” adds some synths on the road, giving all our lives to God. “Not Satisfied” reminds me to Angels & Airwaves, by those deep atmospheres where we can hear the desperate cry of the Church asking the Father for a new awakening: “We’re tired of standing here / We’re tired of holding on / We’re tired of holding still / Tired of singing empty songs”. This song also has a high national radio host. The acoustic guitars give way to “Anthem” with safe lyrics and guitar delays that resemble a young Third Day. Quickly, “Solid Rock” (originally by Edward Mote) shakes us with its creative and flexible chord progression. The impulsive “Urgency” arrays itself with passionate piano and melodies alerting the great need for God in our world today. Then, the track energy increases with the violins and drums to proclaim: “How long must we wait for you?”.

“The Time Is Now” is a positive first step to a successful career. While the songs lack the potential to compete with big bands like U2 or Starfield, this time The Acclaim has to mature over time. However, these 5 songs are a must in your music library; you may be able to surprise with the details in them.

image

“La misión de The Acclaim es avanzar en un movimiento de adoración que encarne el clamor de una generación cuyas vidas han sido apartadas para el Reino de Dios entre un cultura depravada”. Conformado por Michael Rabb (vocalista, guitarra acústica, guitarra eléctrica), Luther Lessor (primer guitarra), Drew Konzelman (guitarra eléctrica, mandolina, voces), Andrew Hartung (strings, theremín, víolin), Aaron McMullen (batería, voces), Derek Konzelman (bajo, voces) y David Konzelman (teclados, voces) está preparados para el lanzamiento de su debut titulado “The Time Is Now – EP”. Michael Rabb escribió todas las canciones del EP y este detalle hace que sea aún más interesante el hecho de escucharlos.

Con rasgos de Farewell Flight y MuteMath, la arrasadora “Give It All” agrega algunos sintetizadores en el camino, entregándole todas nuestras vidas a Dios. “Not Satisfied” me hace recordar a Angels & Airwaves, por aquellas profundas atmósferas en dónde podemos oír el grito desesperado de la Iglesia al pedirle al Padre un nuevo despertar: “We’re tired of standing here / We’re tired of holding on / We’re tired of holding still / Tired of singing empty songs”. Esta canción además logro una buena acogida en radios nacionales. Las guitarras acústicas abren paso a “Anthem”, con letras seguras y delays de guitarras que se asemejan a una joven Third Day. Rápidamente, “Solid Rock” (original de Edward Mote) nos sacude con su creativa y ágil progresión de acordes. La impulsadora “Urgency” se atavía de pianos y apasionadas melodías que alertan la gran necesidad de Dios en nuestro mundo de hoy. Luego el track se incrementa de energía con los violines y tambores que proclaman: “How long we must wait for you?”.

“The Time Is Now” es un positivo primer paso para una fructífera carrera. Si bien las canciones carecen del potencial para competir con grandes bandas como Starfield o U2, esta vez The Acclaim tiene que madurar con el tiempo. Sin embargo, estas 5 canciones no pueden faltar en tu biblioteca musical; tal vez puedas sorprenderte con los detalles que hay en ellas.

5 Apr 2010

Nathan Morris - Just Me, Just You (EP)

image

Artist: Nathan Morris
Album: Just Me, Just You - EP
Year: 2010
Label: Rytone Entertainment
Website: http://www.nathanmorris.net/
Myspace: http://www.myspace.com/nathanmorris
Facebook: http://www.facebook.com/nathanmorrismusic
Twitter: @nathanmorris
Buy: iTunes - Amazon - Official Store
Sounds Like: Nathan Walters, Secrets In Stereo, Lights, Owl City, Keane, Coldplay, Chris Brown, Ne-Yo
Rating: 4/5 ♥♥♥

Nathan Morris takes his personal experiences to produce genuine lyrics that are relevant to the listeners from various walks of life. Nominated as an independent artist of the year, and having sounded infinitely in the Starbucks internationally between 2008 and 2009 with his song “Closure”, while “Closer Like Me” was playing on some American Airlines flights. Last year was the beginning of a new era for Nathan Morris. Powered by acclaimed Grammy nominated, Dove Award winning and producer Ryan Farish, this year give us an advance of a renewed and fresh sound with “Just Me, Just You - EP”.

The titletrack “Just Me, Just You” quickly convinces us of the musical evolution of Morris. Ryan Farish added style and complemented the sexy voice of Nathan making a song with features of electro pop and R&B that is easily compared to well-known Ne-Yo. The lyrics talks about a boy regretted of his words, the mistakes he made in his relationship, and that all he wants is keep love away: “You got my heart in your pocket / don’t drop it”. I love the synths in the chorus and the vocal versatility of this track. The abstract “It’s Criminal”, guilty accused that girl who has stolen the heart and passion of our lives. Finally, “Lost Without You” is inclined to Chris Brown, with lovely lyrics and melody. No matter where we go, the faces we see, we are convinced that without this love we are lost.

Although, before Nathan Morris could be compared musically with Coldplay or Keane, the metamorphosis of his sound is positive. Now we could say that Nathan Walters, Owl City and Lights are his biggest influences, and his compositions include large-scale improved.

image

Nathan Morris toma sus experiencias personales para producir letras genuinas que son relevantes para los oyentes de diversas profesiones y condiciones sociales. Nominado como artista independiente del año, y habiendo sonado infinitamente en los Starbucks a nivel internación entre el 2008 y 2009 con su tema “Closure”, mientras que “Closer Like Me” sonaba en los vuelos de American Airlines. El año pasado fue el inicio de una nueva era para Nathan Morris. Impulsado por el aclamado nominado al Grammy, ganador de los premios Dove y productor Ryan Farish, este año nos presentan un adelanto de un renovado y fresco sonido con “Just Me, Just You - EP”.

El titletrack “Just Me, Just You” rápidamente nos convence de la evolución musical de Morris. Ryan Farish ha agregado su estilo y ha complementado la atractiva voz de Nathan logrando una canción pop con rasgos de electro y R&B que fácilmente se comparan al experimentado Ne-Yo. La letra habla sobre un muchacho arrepentido de las palabras, los errores que cometió en su relación, y que lo único que anhela es impedir que el amor desaparezca: “You got my heart in your pocket / don’t drop it”. Me encantan los sintetizadores en el coro y la versatilidad vocal de este track. La abstracta “It’s Criminal” acusa de culpable a aquella chica que ha robado el corazón y la pasión de nuestras vidas. Por último, “Lost Without You” se inclina por Chris Brown, con una encantadora letra y melodía. No importa donde vayamos, los rostros que veamos, estamos convencidos que sin ese amor estamos perdidos.

Si bien, antes Nathan Morris podía ser comparado musicalmente con Coldplay o Keane, la metamorfosis de su sonido es positiva. Ahora podríamos decir que Nathan Walters, Owl City y Lights son sus mayores influencias, y cabe mencionar que sus composiciones han mejorado en gran escala.

5 Apr 2010

Jason Eaton - One

image

Artist: Jason Eaton
Album: One
Year: 2010
Label: JEM Records/Deep South Digital
Website: http://www.jasoneaton.org/
Myspace: http://www.myspace.com/jasoneatonmusic
Facebook: http://www.facebook.com/jasoneaton
Twitter: @jason_eaton
Buy: iTunes - Amazon - Rhapsody - Official Store
Sounds Like: U2, Starfield, Chris Tomlin, Reuben Morgan, Hillsong United, Bluetree
Rating: 3/5 ♥♥♥

It is very satisfying to see how artists evolve over time, and Jason Eaton has managed to mature and improve his sound. Pop/rock/worship with an impeccable vocal performance and a very well done production that deserves to be reviewed. “One” includes the production of Scotty Wilbanks (Third Day, DecembeRadio, After Edmund, Echoing Angels, Newsong, Unhindered) and Scott Pergande (A Rotterdam November) that have resulted in 10 songs of worship that are a calling to our church to unify and put aside doctrinal differences and focus on expanding the message of salvation.

The fervent “Furious Love” begins the disc, asking God to hear the hearts of men, the cry of his people extends humble. The guitars are like U2 checking every word, every prayer. The titletrack and first single from the album “One” is the song of creation (Romans 14:11): “One love, one God / One before Our lovers / One way, one truth / We have come to worship”. Then we find “Saving Grace”, which for a moment I thought it was “One Love” by U2. We see a desperate prayer that longs for the rain of God’s grace. The reverent “Higher Than” dives with sweet harmonies in a poem of thanks to God: “Lead me to the rock that is higher than I / Lead me to the water that will satisfied my soul / It waits for you”. The hopeful “Someday Soon” rests on the promise that someday we will fly to meet with him and see him face to face. The completely immersed “Capture Me” gives devotion and control of our lives to Heavenly Father. On the other hand, “Waiting On You Again” shows the acoustic side of the disc, with little touches of jazz. The writing is spontaneous, recalls the essence of our faith. “All I Have” comes with empty hands and an open heart before God: “Jesus, all I have is you / You’re the hope I’m holding into”. The shameless prayer in “Fall On Us Now” asked God for a revival, when heavens opened and love can descend. The hymn of freedom “Free” is presented before the throne of God with transparency, with confidence that, through his goodness, we have the eternal forgiveness.

The progression that the disc has is sticky, captivating. Jason Eaton combines pop vocal dynamism and fresh worship influenced by Reuben Morgan, Hillsong United and Starfield.

image

Es muy satisfactorio ver cómo los artistas van evolucionando a través del tiempo, así como Jason Eaton ha logrado madurar y mejorar su sonido. Pop/rock/worship con una impecable performance vocal y una muy bien elaborada producción que merece ser reseñada. “One” cuenta con la producción de Scotty Wilbanks (Third Day, DecembeRadio, After Edmund, Echoing Angels, Newsong, Unhindered) y Scott Pergande (A Rotterdam November) que han dado como resultado 10 canciones de adoración que hacen un llamado a nuestra iglesia, a unificarnos y dejar de lado las diferencias doctrinales, y enfocarnos en expandir el mensaje de salvación.

La ferviente “Furious Love” inicia el disco pidiéndole a Dios que oiga el corazón de los hombres, el clamor de su pueblo que se extiende humilde. Las guitarras se asemejan a U2 marcando cada palabra, cada plegaria. El titletrack y primer sencillo del álbum “One”, es el canto de la creación (Romanos 14:11): “One love, one God / One before our lovers / One way, one truth / We have come to worship”. Luego nos encontramos con “Saving Grace”, que por un instante pensé que era “One Love” de U2. Vemos una desesperada oración que anhela la lluvia de la gracia de Dios. La reverente “Higher Than” se sumerge con dulces armonías en un poema de agradecimiento a Dios: “Lead the me to the rock that is higher than I / Lead me to the water that will satisfied my soul / It waits for you”. La esperanzadora “Someday Soon” descansa en la promesa que algún día volaremos para encontrarnos con Él, y verlo cara a cara. La completamente inmersa “Capture Me” le entrega devoción y el control de nuestras vidas al padre celestial. Por otro lado, “Waiting On You Again” nos muestra la faceta acústica del disco, con algunos toques de jazz. La letra es espontánea, nos recuerda la esencia de nuestra fe. “All I Have” se acerca con manos vacías y un corazón abierto ante Dios: “Jesus, all I have is you / You’re the hope I’m holding into”. La desvergonzada oración en “Fall On Us Now” le pide a Dios una avivamiento, que los cielos se abran y su amor pueda descender. El himno de libertad “Free”, se presenta ante el trono de Dios con transparencia, con seguridad y confianza de que gracias a su bondad, tenemos el perdón eterno.

La progresión que el disco posee es pegajosa, cautivante. Jason Eaton combina su dinamismo vocal con pop y adoración fresca que se influencia de Reuben Morgan, Hillsong United y Starfield.

1 Apr 2010

eleventyseven - Adventures In Eville

image

Artist: eleventyseven
Album: Adventures In Eville
Year: 2009
Label: eleventyseven
Website: http://www.eleventysevenrock.com/
Myspace: http://www.myspace.com/eleventyseven
Twitter: @eleventyrock
Buy: iTunes - Amazon - Official Store
Sounds Like: Hawk Nelson, Stellar Kart, Run Kid Run, Relient K, Blink 182, Weezer, Family Force 5, 3OH!3, Capital Lights, Becoming Yesterday, Please Promise, Attaboy, The Great Transparency
Rating: 4/5 ♥♥♥♥

After eleventyseven defined their electro-pop-rock sound with “Galactic Conquest”, leaving out Flicker Records, and being totally independent, they present their latest experiment. “Adventures In Eville” fuses electronic features such as Joy Electric with pop/punk bands like Relient K and Stellar Kart. Matt Langston (lead vocals, guitar), Caleb Satterfield (bass, vocals) and Jonathan Stephens (bacteria, vocals) found redemption from his earlier reputation, showing a passionate return to the stage.

We started with the burning “Nightmare” with a brief intro that reminds me a mix between Owl City and Hawk Nelson with a solid punk rock, catchy electronic riffs and a fun tune that refers to the redemption of God in our lives, giving us an element (salvation) has given us security and faith: “No, I can’t stop believing that wishes do come true / ‘Cause life is what you make it, and I wanna make it with you / ‘Cause the second I saw you I pinched myself to see if you were really there / ‘Cause meeting you is like waking up from a nightmare”. The synthesizers are highlighted in “The Best I Can” that sings the barriers of love, with lines showing a boy on a desperate quest to heal the pain in his heart: “Cause we both feel the pain / We just say it different ways / Hear my heart before you hear my lips / ‘Cause I can’t win this game / If I don’t know how to play / Don’t give up just try and understand / I’m doing the best I can”. The first single from the album comes with “Evil Genius”, the love song of a nerd. Inspired by a Matt’s close friend who was in love with a girl and did not know how to tell her: “Kelly doesn´t know that I’m an evil genius / With a sidekick dog named Grover Cleveland / And she´ll never know that we can take over the world / With cyborg robot squirrels”. The sound of a fairy tale comes with “Trying”, which somehow represents the daily life of the band. With an infectious techno/punk/rock, Matt shares with us: “We want listeners to know that they can be part of something so much greater than just a fan base. We want our music to be a direct vehicle for friendships to form, for stories and experiences to be shared, and for fun to be had”. With sarcasm that calls you to reflect, “Redeem The Scene” begins with hip-hop voices, but quickly turns into an aggressive pop/punk/rock that talks about the falsity of the rock artists in today: “Stages are for bands and catwalks are for models / How’d we ever get these two confused / Put your girlfriend’s pants right back where you got them / I hate to be the one to break the news / But rock and roll was never meant for you”. Continuing the fun, “Prom Song” refers to a disastrous prom party. Many influences from Family Force 5 and 3OH!3. The romantic “Lonely Word” enchants us with its chorus: “Forever is a lonely word in a sentence without me and you / If you look it up you’ll see in my dictionary that underneath forever there’s a picture of you and me”. The magical and nostalgic “Back When We Were Kids” makes us remember things we did when we were children: “If we had problems band-aids fixed it / Mom was always there to listen and every night we’d say our prayers to someone watching us up there / Life was so much simpler way back then, back when we were kids”. The challenging “Rock You Like” is a hymn which encourages us to be ourselves, and not as the world tells us to be: “We’re not going to rock the way you do”. A sweet piano opens “End Of Time”, then give way to strings and a techno/pop feeling with influences from Capital Lights. I like the lyric ambiguity of this song, it can be dedicated to God, to angels or to a loved one: “I will never let this harm you / I can be what you hold to / Let me be the one to love you ‘till the end of time / Know that when the darkness shakes you / I will never this this break you / Let me be the wings that take you to the end of time.

“Adventures In Eville” is more than 10 tracks of upbeat, contagious and delusional electro/punk/pop, but also is a open letter that tell our lives in a positive and sincere way. Recharged, reinvented, renewed. Is it how eleventyseven manifests itself in his return, with fun but inspiring songs.

image

Luego que eleventyseven defina su sonido electro-pop-rock con “Galactic Conquest”, dejando de lado a Flicker Records y siendo totalmente independientes, nos presentan su más reciente experimento. “Adventures In Eville” fusiona rasgos electrónicos como los de Joy Electric con bandas pop/punk como Relient K y Stellar Kart. Matt Langston (vocalista, guitarra), Caleb Satterfield (bajo, voces) y Jonathan Stephens (batería, voces) encontraron la redención de su anterior reputación, mostrándonos un apasionado retorno al escenario.

Comenzamos con la ardiente “Nightmare” con un breve intro que me recuerda una mixtura entre Owl City y Hawk Nelson con su sólido punk rock, pegajosos riffs electrónicos y una melodía muy divertida que hace referencia al rescate de Dios con nuestras vidas, entregándonos un elemento (la salvación) que nos ha dado seguridad y fe: “No, I can’t stop believing that wishes do come true / ‘Cause life is what you make it, and I wanna make it with you / ‘Cause the second I saw you I pinched myself to see if you were really there / ‘Cause meeting you is like waking up from a nightmare”. Los sintetizadores se realzan en “The Best I Can” que nos cantan las barreras del amor, con líneas que demuestran a un desesperado muchacho en búsqueda de sanar el dolor en su corazón: “Cause we both feel the pain / We just say it different ways / Hear my heart before you hear my lips / ‘Cause I can’t win this game / If I don’t know how to play / Don’t give up just try and understand / I’m doing the best I can”. El primer sencillo del álbum llega con “Evil Genius”, la canción de amor de un nerd. Inspirada en un amigo cercano de Matt que estaba enamorada de una chica y no sabía cómo decírselo: “Kelly doesn´t know that I’m an evil genius / With a sidekick dog named Grover Cleveland / And she´ll never know that we can take over the world / With cyborg robot squirrels”. El sonido de cuento de hadas llega con “Trying”, que de alguna manera representa el diario vivir de la banda. Con un infeccioso techno punk rock, Matt nos comparte: “Queremos que nuestro oyentes sepan que pueden ser parte de algo mucho más grande que un club de fans. Queremos que nuestra música sea un vehículo para formar amistades para que historias y experiencias sean compartidas de una manera divertida”. Con un sarcasmo que te llama a reflexionar, “Redeem The Scene” inicia con voces de hip-hop, pero rápidamente se transforma en un agresivo pop/punk/rock que habla sobre la falsedad de los artistas de rock de hoy en día: “Stages are for bands and catwalks are for models / How’d we ever get these two confused / Put your girlfriend’s pants right back where you got them / I hate to be the one to break the news / But rock and roll was never meant for you”. Continuando con la diversión, “Prom Song” hace referencia a una desastrosa fiesta de promoción. Muchas influencias de Family Force 5 y 3OH!3. La romántica “Lonely Word” nos encanta con su coro: “Forever is a lonely word in a sentence without me and you / If you look it up you’ll see in my dictionary that underneath forever there’s a picture of you and me”. La mágica y nostálgica “Back When We Were Kids” nos hacer recordar las cosas que hacíamos cuando éramos niños: “If we had problems band-aids fixed it / Mom was always there to listen and every night we’d say our prayers to someone watching us up there / Life was so much simpler way back then, back when we were kids”. La desafiante “Like You Rock” es un himno que nos anima a ser nosotros mismos, y no como el mundo nos dice ser: “We’re not going to rock the way you do”. Un dulce piano apertura “End Of Time”, para luego dar paso a cuerdas y un sentimiento techno/pop con influencias de Capital Lights. Me gusta la ambigüedad lírica de esta canción, puede ser dedicada a Dios, de ángeles o de un ser amado: “I will never let this harm you / I can be what you hold to / Let me be the one to love you ‘till the end of time / Know that when the darkness shakes you / I will never this this break you / Let me be the wings that take you to the end of time”.

“Adventures In Eville” es más que 10 tracks de impulsador, contagioso delirante electro/punk/pop, sino también cartas abiertas que relatan nuestras vidas, de un modo positivo y sincero. Recargados, reinventados, renovados. Es así como eleventyseven se manifiesta en su regreso, con canciones divertidas pero inspiradoras a la vez.

26 Mar 2010

Galactus Jack - Reality Bytes (EP)

image

Artist: Galactus Jack
Album: Reality Bytes - EP
Year: 2009
Label: TVCM Music
Myspace: http://www.myspace.com/galactusjack
Twitter: @GalactusJack
Buy: iTunes - Amazon - Official Store
Sounds Like: Simon Dayman, Aorta, Shell Perris, MC Ad-Apt, thebandwithnoname, Lindsey, Fat Boy Slim, The Prodigy, Andy Hunter, Linkin Park, Justice
Rating: 4/5 ♥♥♥♥♥

The UK is accustomed to make us known artists with great particularity and talent. Ben Jack is a famous British DJ that with his friend Simon Dayman formed a house band called Aorta in 2002. After 18 months of hard work on composition and an exhaustive recording period, Galactus Jack throws us his debut “Reality Bytes – EP” which includes the contribution of artists such as Shell Perris, MC Ad-Apt (thebandwithnoname) and Lindsey.

The instrumental prelude on “[Reality] Test” dives with pianos and synthesizers that quickly give way to “Headspace” (first single) with the pop revelation Shell Perris. Strong influences of The Prodigy and powerful guitars in the background. The bohemian and bewitching “Hollywood” has multiple features of Fat Boy Slim, distorted vocals and a rhythm that hooks you with every beat, with the chaotic guitars, sweeping synths and raucous sequences. The following instrumental “[Reality] Fact-Fiction” explodes with a catchy tune, which fades to give birth to the versatile “Temporary” with MC Ad-Apt rapping and driving melodies through Jack sings a bright and catchy chorus telling us that the life in this world is temporary (1 Corinthians 7:31). The new radio hit “Control” has captured the entire UK, with the participation of a seductive female voice whose I still don’t know, but I guess it’s Lindsey. Without doubt the best instrumental is “[Reality] Check” which provides a sublime conclusion to the EP, with a degenerate synths riff and stuttering melody lines.

Galactus Jack could be defined as the mix between electro grunge, rock and Linkin Park on a funky/dance jamming, spanning various genres and influences from a wide range of electronic details. With a style that stands out in the world of Christianity and artistic credibility, Galactus Jack is a welcome addition to the gospel world, and anyone who dares to venture into the world of “Reality Bytes – EP” will find it worthwhile and it will leave you with a longing to hear more and more.

image

El Reino Unido nos está acostumbrando a dar a conocer artistas con mucha peculiaridad y talento. Ben Jack es un famoso DJ británico que junto a su amigo Simon Dayman formaron una banda de house llamada Aorta en el 2002. Luego de 18 meses de arduo trabajo de composición y un período exhaustivo de grabación, Galactus Jack nos lanza su debut “Reality Bytes - EP” que incluye la contribución de artistas como Shell Perris, MC Ad-Apt (thebandwithnoname) y Lindsey.

El preludio instrumental en “[Reality] Test” se sumerge con pianos y sintetizadores que rápidamente abren paso a “Headspace” (primer sencillo) que cuenta con la revelación pop Shell Perris. Fuertes influencias de The Prodigy y potentes guitarras de fondo. La bohemia y hechizante “Hollywood” tiene múltiples rasgos de Fat Boy Slim, voces distorsionadas y un ritmo que te engancha con cada compás, con las caóticas guitarras, los arrasadores synths y las estridentes secuencias. El siguientes instrumental “[Reality] Fact-Fiction” explota con una melodía pegajosa que se desvanece para dar a luz a la versátil “Temporary”, con MC Ad-Apt rapeando y conduciendo las melodías hasta que Jack nos canta un brillante y pegajoso coro que nos dice que la vida en este mundo es temporal (1 Corintios 7:31). El nuevo éxito de radio “Control” ha capturado a todo el Reino Unido, con la participación de una seductora voz femenina que aún no descubro quién es, pero supongo que es Lindsey. Sin duda el mejor instrumental es “[Reality] Check” que brinda una excelsa conclusión al EP, con un degenerado riff de sintetizadores y balbuceantes líneas melódicas.

Galactus Jack podría ser definido como la mezcla entre electro grunge, rock y Linkin Park en un funky/dance jamming, abarcando diversas influencias de géneros y un rango amplio de detalles electrónicos. Con un estilo que se destaca en el mundo del cristianismo y de la credibilidad artística, Galactus Jack es una bienvenida adición al mundo góspel, y cualquiera que se atreva a aventurarse en el mundo de “Reality Bytes – EP” encontrará que valió la pena y te dejará con un anhelo por oír más y más.