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29 Jun 2010

Dr. Seahorse - Symptons Of Trend

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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.

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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

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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?

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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?

10 Apr 2010

Flatfoot 56 - Black Thorn

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Artist: Black Thorn
Album: Flatfoot 56
Year: 2010
Label: Old Shoe Records (US), Stomp Records (CAN), I Hate People Records (EUR), Big Mouth Records (Japan)
Website: http://www.flatfoot56.com/
Myspace: http://www.myspace.com/flatfoot56
Facebook: http://www.facebook.com/flatfoot56
Twitter: @flatfoot56
Buy: iTunes - Amazon - Official Store
Sounds Like: The Dropkick Murphys, Floggin Molly, Street Dogs, Johnny Rioux, Compound, Pogues, Dubliners, Green Day, From Autumn To Ashes, The Real McKenzies, Rancid, Swingin’ Utters, US Bombs, The Offsprings, Pennywise, SNFU, Social Distortion
Rating: 4/5 ♥♥♥♥

The 2010 is a decade of energetic Celtic punk-rock for Flatfoot 56. The band is formed by Tobin Bawinkel (vocals / guitar), along with his brothers Justin (drums, vocals) and Kyle Bawinkel (bass, vocals), and also Erich McMahon (bagpipes and guitar) and Brandon Good (mandolin and guitar). Produced by Jonny Rioux (The Street Dog), “Black Thorn” is constructed by 13 songs that celebrate the pride of the working class and its roots in Chicago. “Everyone goes through difficulties, but you’re not alone. Punk rock is about community and brotherhood. This album is a contribution to it” says Tobin about his new project.

The enigmatic, almost dark introduction “The Escape (Intro)” leads the album gradually through the interaction between a mandolin, acoustic guitar, the crack of sticks, the hypnotic bagpipe and the chaotic narration: “Tired of the everyday grind? / Want to get away from it all? / Ever dream of a life of romantic adventure? / We offer you escape”. Then we’re thrown by the titletrack “Black Thorn” with honest lyrics: “It doesn’t matter when you ran your race / It’s not about how you set your pace / In the end will you be true? / And if you can’t, I’m forgetting you”, inspiration that comes from Hebrews 12, where Paul describes this thorn in his flesh as an analogy to which we must face. Immediately, “Born For This” reminds us all the reason Flatfoot 56 has to make music. The recipe waiting in lyrics slaps us: “To all my brothers, to all my brothers’ sons / You can’t find freedom in money, it has to be won”. The passionate tribute to all those everyday heroes is embodied in “Courage”. An ode to the inspiration of those heroes who remain relevant in a wicked world: “Courage, your name means something to me / These heroes, they last through time / Courage, your name means something to me / A champion of the daily grind”. The schizophrenic bagpipes in “Smoke Blower” light up against the resistance. With an infectious melody record that stealthily includes Egyptians riffs, who talks about the struggle between finding time for everything important in your life while trying to escape of the world’s hourglass; our goal is to maintain faith in the midst of so many distractions: “Give me time, give me time / ’Cause I’m stuck in this world’s hourglass / Give me time, give me time / This sand is flowing too fast”. Suddenly, the disc becomes more intimate, even romantic with “Shiny Eyes”, an acoustic love song with accordions and mandolins: “In times of hell, in times of sun / You journeyed with me, my precious one / Far stretched the road I found you on / We walked together arm in arm”. On the other hand, “We Grow Stronger” seeks strength in poverty (2 Corinthians 12:9): “Wohooh… And through our weakness we grow stronger”. Following this musical stampede, we come to “Son Of Shame”, which combines the fatigue and problems of the world together with the mandolin and bagpipes, while “Stampede” raises the pressure of society in an accelerated performance. Again, love invades the atmosphere with “Won Me Over”, which graphics means those solid guitar riffs, a newly married man and another who is madly in love with his wife: “And I’m just a poor old boy with no shoes on my feet / but this raisin-like, frail heart has just found a beat”. We came to the infectious, driven, well-written “Way Of The Sun”, which sounds like a hymn of all the saints march forward to that day where Christ returns a second time. Finally, the successful “Hothead” gives an exciting end to the disk. Perhaps because of its intoxicating drums and the desperate voice of the vocalist. I really do not know. But certainly I love it.

“Black Thorn” is one of those strange and abusive artworks. This time, Flatfoot 56 defines more clearly its vision and punk sound. Awaken your consciousness in a overly creative way.

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El 2010 es una década de enérgico punk-rock céltico para Flatfoot 56. La banda conformada por Tobin Bawinkel (vocalista/guitarra), junto a sus hermanos Justin (batería y voces) Kyle Bawinkel (bajo y voces), además de Erich McMahon (gaitas y guitarras) y Brandon Good (mandolina y guitarras). Producido por Jonny Rioux (The Street Dog), “Black Thorn” se construye a partir de 13 canciones que celebran el orgullo de la clase obrera y sus raíces en Chicago. “Todos pasamos por dificultades, pero no estás solo. El punk rock se trata de la comunidad y la hermandad. Este disco es una contribución a ello”, confiesa Tobin acerca de su nuevo proyecto.

La enigmática, casi oscura introducción “The Escape (Intro)” conduce el álbum progresivamente a través de la interacción entre una mandolina, la guitarra acústica, el chasquido de baquetas, la hipnótica gaita y la caótica narración: “Tired of the everyday grind? / Want to get away from it all? / Ever dream of a life of romantic adventure? / We offer you escape”. Luego, somos arrojados por el titletrack “Black Thorn”, con honestas líricas: “It doesn’t matter when you ran your race / It’s not about how you set your pace / In the end will you be true? / And if you can’t, I’m forgetting you”, inspiración que nace de Hebreos 12, dónde Pablo describe aquella espina en su carne como una analogía a la que tenemos que enfrentar. Inmediatamente, “Born For This” nos recuerda a todos el motivo que Flatfoot 56 tiene al hacer música. La receta expectante en la letra nos da una bofetada: “To all my brothers, to all my brothers’ sons / You can’t find freedom in money, it has to be won”. El homenaje apasionado a todos aquellos héroes del día a día, se plasma en “Courage”. Una oda a la inspiración de aquellos héroes cotidianos que se mantienen relevantes en un mundo perverso: “Courage, your name means something to me / These heroes, they last through time / Courage, your name means something to me / A champion of the daily grind”. Las esquizofrénicas gaitas en “Smoke Blower” se encienden en contra de la resistencia. Con un infeccioso registro melódico que sigilosamente incluye riffs egipcios, que habla sobre la lucha entre encontrar tiempo para todo lo importante en tu vida y al mismo tiempo tratar de escapar del reloj de arena del mundo; nuestra meta es mantener la fe en medio de tantas distracciones: “Give me time, give me time / ’Cause I’m stuck in this world’s hourglass / Give me time, give me time / This sand is flowing too fast”. Repentinamente, el disco se torna más íntimo, incluso romántico con “Shiny Eyes”; una canción de amor acústica con acordeones y mandolines: “In times of hell, in times of sun / You journeyed with me, my precious one / Far stretched the road I found you on / We walked together arm in arm”. Por otro lado, “We Grow Stronger” busca fortaleza en la miseria (2 Corintios 12:9): “Wohooh… And through our weakness we grow stronger”. Siguiendo esta estampida musical, llegamos a “Son Of Shame”, que combina la fatiga y los problemas del mundo junto a la mandolina y la gaita, mientras que “Stampede” saca a flote la presión de la sociedad en una acelerada performance. Una vez más el amor invade la atmósfera con “Won Me Over”, que grafica mediante esos sólidos riffs de guitarra, a un hombre recientemente casado y a otro que está locamente enamorado de su esposa: “And I’m just a poor old boy with no shoes on my feet / but this raisin-like, frail heart has just found a beat”. Llegamos a la contagiosa, impulsadora, bien escrita “Way Of The Sun”, que suena como un himno de marcha de todos los santos ansiosos por aquel día dónde Cristo retorne por segunda vez. Finalmente, la acertada “Hothead” le da un desenlace excitante al disco. Tal vez por sus embriagantes tambores y la desesperada voz del vocalista. La verdad, no lo sé. Pero ciertamente me encanta.

“Black Thorn” es de esas extrañas y abusivas piezas de arte. Esta vez Flatfoot 56 define con más claridad su visión y su sonido punk. Despierta tu conciencia de una manera exageradamente creativa.

5 Apr 2010

Nathan Morris - Just Me, Just You (EP)

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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.

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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

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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.

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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.

25 Mar 2010

Miriam Webster - Made Me Glad

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Artist: Miriam Webster
Album: Made Me Glad
Year: 2010
Label: Kingsway Music/EMI CMG
Website: http://www.miriamwebster.com.au/
Buy: iTunes - Amazon - Official Store
Sounds Like: Darlene Zschech, Hillsong Australia, Alvin Slaughter, New Breed, Don Moen, Martin Smith, Sandi Patty, Vicky Beeching
Rating: 3/5 ♥♥♥

Probably hearing the name Miriam Webster, your brain quickly associates it with Hillsong Australia. Thus, this worship leader, singer and songwriter is about to launch “Made Me Glad”, compiling the best songs of her career and also adding new compositions. Produced by John Hartley, this album reflects the passion for the Church and God’s people in songs to help listeners to connect with the Heavenly Father.

“Mercies” opens the album with the hopeful promise that God will always hear our prayers and that his grace is renewed every morning (Lamentations 3:23). Then the sublime “Angel Of The Lord” is inspired by Psalm 91, reminding us that while we pray and confess that the Angel of the Lord is all around us, we started a spiritual war: “Surely the Angel of the Lord is around me / I have no cause to fear, my God will not forsake me / I am my Father’s child, no enemy can touch me / I will not die but live to tell what He has done”. The disc also includes a masterly duet with acclaimed worship leader from Hillsong, the passionate Darlene Zschech in the inspirational “Loving Kindness”, which exalts the great goodness of our Father when he picked up us from sin and brought us to his presence. The celebration and joy comes with “Praise Him”, co-written Simeon Webster (Miriam’s brother) with dynamic pop guitar that glorifies the wonders of God. Undoubtedly the Webster’s most famous song is titletrack “Made Me Glad” which brings the perspective of the magnitude album: “One day I was speaking some words of praise to God and said, ‘You have made me glad’. It’s like He grabbed those words and praise rose up within me. He revealed to me freshly that day that it doesn’t matter where I am - in a beautiful hotel or the opposite - Jesus is the One who makes me glad, and my joy is found in Him” shares Miriam. The intimate and beautiful “Draw Near” sings that being in the presence of God, everything else disappears, all the words fade away and what we gained is worthless compared to Jesus. Simeon wrote “Peace” with the motion of the tranquility, the peace that God gives us to receive His grace: “He delivers me, sets my feet on a rock / Gives me beauty for ashes / I’ll sing a new song of His loving kindness / His unfailing grace / What a merciful Saviour / My heart will respond” and then declares total dependence on the sweet statement: “I need You Holy Spirit“. The whispering rhodes and violins embrace the delicate “Marvelous” declaring that Jesus is the only one worthy of all glory, for the work he has done on the cross to bear our sins and deliver us with His blood. “Greater” encourages us to not fear or faint in adversity, because the name of Jesus appeases the storms. The sweet piano and sublime strings consume “Fall Upon Your Knees” that invites us to cry out to our Creator when our spirit is wounded and our hearts are full of sorrow: “He gives strength to the weary / He gives power to the weak / When you go to Him in secret / And lay surrendered at His feet”.

Kingsway Music surprises us once again with the quality and uniqueness of their releases and artists, and Miriam Webster is added this list. Whether singing or speaking, Miriam is known to bring the liberty of Christ to people through worship and the Word of God; her new album “Made Me Glad” is perfect for an intimate and powerful time of worship for those weeks of weakness.

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Probablemente al oír el nombre Miriam Webster, tu cerebro rápidamente lo asocie a Hillsong Australia. Así es, esta líder de alabanza, cantante y compositora está próxima a lanzar “Made Me Glad”, recopilando las mejores canciones de su carrera y agregando también nuevas composiciones. Producido por John Hartley, este álbum refleja la pasión por la Iglesia y el pueblo de Dios en canciones que ayudan a sus oyentes conectarse con el Padre Celestial.

“Mercies” apertura el álbum con la esperanzadora promesa de que Dios siempre oirá nuestras oraciones y que su gracia se renueva cada mañana (Lamentaciones 3:23). Seguidamente la sublime “Angel Of The Lord” se inspira en el Salmo 91, para recordarnos que al orar y confesar que el Ángel del Señor está a nuestro alrededor, iniciamos una guerra espiritual: “Surely the Angel of the Lord is around me / I have no cause to fear, my God will not forsake me / I am my Father’s child, no enemy can touch me / I will not die but live to tell what He has done”.  El disco también incluye un magistral dúo con la aclamada líder de alabanza de Hillsong, la apasionada Darlene Zschech en la inspiradora “Loving Kindness”, que exalta la inmensa bondad de nuestro Padre al levantarnos del pecado y llevarnos a su presencia. La celebración y júbilo llega con “Praise Him”, co-escrita Simeon Webster (hermano de Miriam) con dinámicas guitarras pop que glorifican las maravillas de Dios. Sin duda la canción más conocida de Webster es el titletrack “Made Me Glad” que reúne la perspectiva del álbum en magnitud: “Un día estaba hablando algunas palabras de alabanza a Dios y dije, ‘Me has hecho feliz’. Es como si Él hubiera grabado aquellas palabras y alabanzas, y me reveló que no importa dónde esté – en un hermoso hotel o en todo lo contrario – Jesús es el único que me hace feliz, y my alegría se encuentra en Él” nos comparte Miriam. La íntima y hermosa “Draw Near” nos canta que al estar en la presencia de Dios, todas las demás cosas desaparecen, todas las palabras sobrado y lo que hemos ganado no tiene valor comparado a Jesús. Simeon compuso “Peace” con la moción de la tranquilidad, la paz que Dios nos da al recibir su gracia: “He delivers me, sets my feet on a rock / Gives me beauty for ashes / I’ll sing a new song of His loving kindness / His unfailing grace / What a merciful Saviour / My heart will respond” y luego declara total dependencia en la dulce declaración: “I need You Holy Spirit”. Los susurrantes rhodes y los delicados violines abrazan “Marvelous” declarando que Jesús es el único digno de toda gloria, por la obra hecha en la cruz al cargar nuestros pecados y liberarnos con su sangre. “Greater” nos anima a no temer, ni desmayar ante la adversidad, porque al nombrar el nombre de Jesús las tormentas se apaciguan. Los dulces pianos y las sublimes cuerdas consumen “Fall Upon Your Knees” que nos invita a clamar a nuestro Creador cuando nuestro espíritu esté herido y nuestro corazón lleno de dolor: “He gives strength to the weary / He gives power to the weak / When you go to Him in secret / And lay surrendered at His feet”.

 Kingsway Music una vez más nos sorprende con la calidad y la peculiaridad de sus lanzamientos y artistas, y a esta lista se le agrega Miriam Webster. Ya se cantando o hablando, Miriam es conocida por brindar la libertad de Cristo a la gente a través de la adoración y la Palabra de Dios, y su nuevo álbum “Made Me Glad” es perfecta para un tiempo íntimo y poderoso de adoración para aquellas semanadas de debilidad.

22 Mar 2010

Yancy - Rock-N-Happy Heart

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Artist: Yancy
Album: Rock-N-Happy Heart
Year: 2010
Label: Pure Blue Records/Word Distribution
Website: http://yancynotnancy.com/
Myspace: http://www.myspace.com/yancynotnancy
Twitter: @yancynotnancy
Buy: iTunes - Amazon - Official Store
Sounds Like: Jaci Velasquez, Salvador, Go Fish, Sheryl Crow, Amy Grant, and Martina McBride, Nichole Nordeman, 4Him, Sonic Flood, Avalon, Sheryl Crow, Cindy Morgan, Amy Grant, Fleetwood Mac
Rating: 2/5 ♥♥

Yancy has shared the stage with great figures of Christian music over the past 10 years of her career, a list that includes Nichole Nordeman, Mute Math, Newsboys, 4Him and many more. She has also contributed as a songwriter with artists such as Avalon and Jaci Velasquez, and this year she has re-launched the project “Rock-N-Happy Heart”, an album suitable for pre-teens and children. Produced by Yancy and John Mitchell, season with hooks rock’n’roll dynamic worship and praise.

“Super Start” graphic us Jesus as a celebrity, highlighting the change he has made in our lives and now he has become our best friend. The guitar riff on “One Of A Kind” grabs the attention of our ears, reminding us that each day is an opportunity to shine with the light of Christ. “Shout” is a song of celebration and praise, a thousand voices proclaiming the faithfulness and goodness of God. Then we find “My Savior My God” (originally by Aaron Shust), interpreted in an inspiring way. Accelerating the pulse of the cd, “Paid In Full” combines features of dance, funk and pop shouting God’s forgiveness. On the other hand “I’m Really Happy” (originally by Hillsong Kids) also add a dose of energy to the album. While the sublime “Always Be” puts our trust in the promise that God will always take care of us. “Dream Will Come True” welcomes the fact that God created each of us with a wonderful plan. The wild guitars of “I Can’t Stop” resemble Miss Angie, and reminds us that we always have a reason to smile. Finally, “With All My Heart” gives devotion to God, through simple but powerful phrases like: “I love you, yes I do”. The disc also adds the remix versions of “Paid In Full”, “Shout” and “Dream Will Come True”.

“When my heart was hurting, He turned that sadness into joy”, Yancy confesses in a press article. From my perspective, perhaps this album does not have the perfection and complexity to obtain millions of sales, it has the simplicity, the passion on his lyrics and Yancy clear vision that draws us in this album, making it a fun experience that leaves you with a smile on your face.

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Yancy ha compartido escenario con grandes figuras de la música cristiana durante los últimos 10 años de su carrera, una lista que incluye a Nichole Nordeman, Mute Math, Newsboys, 4Him y muchos más. Además ha contribuido como compositora con artistas como Avalon y Jaci Velasquéz, y este año re-lanza el proyecto “Rock-N-Happy Heart”, un disco adecuado para pre-adolescentes y niños. Producido por Yancy y John Mitchell, sazonan el dinámico rock’n’roll con ganchos de adoración y alabanza.

“Super Start” nos grafica a Jesús como una celebridad, resaltando el cambio que hizo en nuestras vidas y que ahora se ha convertido en nuestro mejor amigo. El riff de guitarras en “One Of A Kind” arrebata la atención de nuestros oídos, recordándonos que cada día es una oportunidad para brillar con la luz de Cristo. “Shout” es un canto de celebración y alabanza, que proclama a mil voces la fidelidad y bondad de Dios. Seguidamente nos encontramos a “My Savior My God” (original de Aaron Shust), interpretada de una manera inspiradora. Acelerando el pulso del cd, “Paid In Full” combina rasgos de dance, funk y pop que gritan el perdón de Dios. Por otro lado “I’m Really Happy” (original de Hillsong Kids) también agrega una dosis de energía al álbum. Mientras que la sublime “Always Be” pone nuestra confianza en la promesa que Dios siempre cuidará de nosotros. “Dream Will Come True” celebra el hecho de que Dios nos creó a cada uno de nosotros con un plan maravilloso. Las salvajes guitarras de “I Can’t Stop” se asemejan a Miss Angie, y nos recuerda que siempre tenemos un motivo para sonreír. Finalmente “With All My Heart” le entrega devoción a Dios, a través de simples pero poderosas frases como: “I love you, yes I do”. El disco también agrega las versiones remix de “Paid In Full”, “Shout” y “Dream Will Come True”.

“Cuando mi corazón estaba dolido, Él convirtió esa tristeza en alegría” nos confiesa Yancy en un artículo de prensa. Desde mi perspectiva, tal vez este álbum no posea la perfección y complejidad para obtener millones de ventas, pero la simpleza, la pasión de sus letras y la clara visión que Yancy nos dibuja en este álbum, lo convierten en una experiencia divertida que te deja con una sonrisa en el rostro.

19 Mar 2010

Luminate - Luminate EP

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Artist: Luminate
Album: Luminate EP
Year: 2010
Label: Sparrow Records/EMI CMG
Myspace: http://www.luminaterock.com/
Twitter: @LuminateBand
Buy: iTunes - Amazon - Official Store
Sounds Like: Tenth Avenue North, Switchfoot, Delirious?, Leeland, Chris Tomlin, U2, The Fray, Linkin Park, The Killers, This Beautiful Republic, Seabird, Starfield, Chris Taylor, Sanctus Real, MuteMath, Edison Glass, Bebo Norman, Caedmon’s Call, Chris Tomlin, Leeland, Bethany Dillon, Matt Wertz, Dave Barnes
Rating: 3/5 ♥♥♥♥

The new members of Sparrow Records are reaching the world through their songs, with hope, humility and truth to a generation full of apathy and confusion. Luminate consists of Samuel Hancock (vocals/guitar), Cody Clark (lead guitar), Dusty Jakubik (bass), Dustin DeLong (keyboards/vocals) and Mathew Aaron (drums). Their sound is influenced by Christian bands like Tenth Avenue North, Switchfoot, Delirious?, Leeland, Chris Tomlin, merged with the mainstream U2, The Fray and The Killers, adding their particular pop/rock sound and lyrics that encourage us to awake out of abandonment of our society and pursue our dreams with purpose, reminding us that our lives and what we do is worthwhile. Luminate - EP self-titled debut was produced by Allen Salmon (This Beautiful Republic, Seabird, Starfield, Chris Taylor, Sanctus Real, MuteMath), Josh Silverburg (Edison Glass) and Ed Cash (Bebo Norman, Caedmon’s Call, Chris Tomlin, Leeland, Bethany Dillon, Matt Wertz, Dave Barnes), and it is remarkable the dominance of experience in this project.

The upbeat “Spirit Of Love” opens the album with powerful voices who cry the manifestation of the Holy Spirit’s presence in a broken and confused world: “Spirit of Love, won’t You come / And fall on everyone / The world must know that we are Yours / Our hearts beat as one / To see Your kingdom come / So pour out all Your love Oh, reign in us”. The first single from the band “Shine (Love Is An Action)” is getting a great reception at CHR radio format. Sounds like “Shadow Of The Day” by Linkin Park, adding synths, roaring guitars and powerful voices in the background. The transparency of this hymn transforms the word love in a compassionate and effective action. “We pray that this song and its concept will become an anthem for all those who stand hope, love, truth and justice in a world that desperately needs to re-unite with his creator” says Hancock. The passionate chorus sings: “Shine, love is an action / Shine, oh, it starts with a passion / ‘Cause we want to be a heart that’s pure / So all will see that we are Yours / Shine”. The story of the prodigal son is captured in “My God” with a kind of modern hymn. In addition, the choir gives praise to God for mercy that has made us free, but in the eyes of man we don’t deserve it. The last verse is the epic return of a conquering God, and how that day will be a day of celebration and darkness will be defeated once and for all: “This song will rise, from shore to shore / We are free, where bound no more”. The inspirational “Miracle” is a timely cry of despair when conflicts and problems of everyday look out our window. The song says: “Find me as I Am, I can barely stand” and encourages us to embrace our miracles and be victorious in our struggles. “Hear Our Cry” was one of the first songs the band promoted. It encourages us to put aside our pride and ambition to glorify and spread the gospel: “What have I become? / What mercy have I shown without Your love? / ‘Cause time and time again / A broken man, I stand, only on Your love”. Really challenging. Concluding the album in an encouraging way, “Fearlessly” sings about the effect that faith produces in our fears and the freedom that gives us the light of the glory of God in our ways. It is when we hear our Father’s voice saying: “But You say / Don’t be afraid, and don’t feel ashamed / You’re one breath away from the life you’re meant to lead / Fearlessly”.

“Our common goal is to reach anyone and everyone with the love of Christ, though they are in churches or clubs. We want to define that every follower of Jesus must be actively pursuing their faith and the calling God gave us” Sam confesses. Brit rock and touches of contemporary worship, Luminate’s mission is to rescue the essence of love, and love is an action.

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Los nuevos integrantes de Sparrow Records, están alcanzando el mundo a través de sus canciones, con esperanza, humildad y verdad hacia una generación llena de apatía y confusión. Luminate está conformado por Samuel Hancock (vocalista/guitarras), Cody Clark (primera guitarra), Dusty Jakubik (bajo), Dustin DeLong (teclados/voces) y Aaron Mathew (batería). Su sonido se influencia de bandas cristianas como Tenth Avenue North, Switchfoot, Delirious?, Leeland y Chris Tomlin, fusionados con los mainstream U2, The Fray y The Killers, agregándoles su particular sonido pop/rock ambiental y líricas que nos animan a levantarnos del abandono de nuestra sociedad y perseguir nuestros sueños con propósito, recordándonos que nuestras vidas y lo que hacemos valen la pena. Su autotitulado debut Luminate EP fue producido por Allen Salmon (This Beautiful Republic, Seabird, Starfield, Chris Taylor, Sanctus Real, MuteMath), Josh Silverburg (Edison Glass) y Ed Cash (Bebo Norman, Caedmon’s Call, Chris Tomlin, Leeland, Bethany Dillon, Matt Wertz, Dave Barnes), y es notable el predomino de experiencia en este proyecto.

La impulsadora “Spirit Of Love” apertura el álbum con potentes voces, que claman la manifestación de la presencia del Espíritu Santo en un quebrado y confuso mundo: “Spirit of Love, won’t You come / And fall on everyone / The world must know that we are Yours / Our hearts beat as one / To see Your kingdom come / So pour out all Your love Oh, reign in us”. El primer sencillo de la banda “Shine (Love Is An Action)” está logrando una gran acogida en las radios de formato CHR. Suena como “Shadow Of The Day” de Linkin Park, adicionando sintetizadores, rugientes guitarras y pujantes voces de fondo. La transparencia de este himno transforma la palabra amor en una compasiva y eficaz acción. “Oramos porque esta canción y su concepto se convierta en un himno para todo aquellos que apoyan la esperanza, el amor, la verdad y la justicia en un mundo que necesita desesperadamente volver a unirse con su creador” nos dice Hancock. El apasionado coro nos canta: “Shine, love is an action / Shine, oh, it starts with a passion / ‘Cause we want to be a heart that’s pure / So all will see that we are Yours / Shine”. La historia del hijo pródigo se plasma en “My God” con una especie de himno moderno. Además el coro le entrega alabanza a Dios por la misericordia que gratuitamente nos ha entregado, aunque a los ojos del hombre no la merezcamos. El último verso es el épico retorno de un Dios conquistador, y cómo aquel día será un día de celebración y la oscuridad será vencida de una vez por todas: “This song will rise, from shore to shore / We are free, where bound no more”. La inspiradora “Miracle” es un oportuno clamor de desesperación cuando los conflictos y problemas del día a día se asoman por nuestra ventana. La canción nos dice: “Find me as I Am, I can barely stand”  y nos anima a abrazar nuestro milagros y salir victoriosos de nuestras luchas. “Hear Our Cry” fue una de las primeras canciones que la banda promocionó. Nos anima a dejar de lado nuestro orgullo y ambición para glorificar y expandir el evangelio: “What have I become? / What mercy have I shown without Your love? / ‘Cause time and time again / A broken man, I stand, only on Your love”. Realmente desafiante. Concluyendo el álbum de un modo esperanzador, “Fearlessly” nos canta sobre el efecto que la fe produce en nuestros miedos y la libertad que nos entrega la luz de la gloria de Dios a nuestros caminos. Es cuando oímos la voz de nuestro Padre diciéndonos: “But You say / Don’t be afraid, and don’t feel ashamed / You’re one breath away from the life you’re meant to lead / Fearlessly”.

“Nuestra meta común es alcanzar a alguien y a todos con el amor de Cristo, aunque ellos se encuentren en iglesias o clubes. Queremos dejar bien definido que cada seguidor de Jesús debe ser activo persiguiendo su fe y el llamado que Dios nos dio” nos confiesa Sam. Pinceladas de brit rock y adoración contemporánea, Luminate tiene la misión de rescatar la esencia del amor; y el amor es una acción.

17 Mar 2010

Meredith Andrews - As Long As It Takes

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Artist: Meredith Andrews
Album: As Long As It Takes
Year: 2010
Label: Word Records
Website: http://www.meredithandrews.com/
Myspace: http://www.myspace.com/meredithandrewsband
Twitter: @MereMusic
Buy: iTunes - Amazon - Official Store
Sounds Like: Darlene Zschech, Laura Story, Brooke Fraser, Natalie Grant, Nichole Nordeman, Bethany Dillon
Rating: 4/5 ♥♥♥♥

In April 2007, Meredith Andrews surprised us with a debut that marked a prominent and successful future. This year the return of this musical prodigy is entitled “As Long As It Takes”, with the production of Jason Ingram and Rusty Varenkamp (Bebo Norman, Aaron Shust, Tenth Avenue North). Continuing with the support of Word Records, with 5 hit singles to which we add the recent “Can Anybody Hear Me”, Dove Award nominations and the influence of new experiences with people she has known in her daily journal, this new album combines the power and passion of her wonderful voice with her heart for God and the people he met on the road.

The album opens with “Never Move On” with piano and harmonies stating that being in the presence of God, there is nothing that can move out from there: “To the cross I will run for all my Savior has done / I will stay here, never move on / No other moment in time, so glorious so divine / I will stay here, never move on”. Continuing with flavored pop/rock, “Only To Be Yours” is inspired by Psalm 86. Meredith shares his inspiration behind this song:  “You’ve heard that quote ‘the problem with living with sacrifices is they crawl off the altar’. That’s what I was thinking when I started the song because I can be so scattered sometimes. I wanted to just say ‘Lord just take everything that I am, just everything’ and the next day I have to do it all over again because I’m trying to live independent of the Lord. I’m trying to do it in my own strength. In reality I need God’s grace. I need to allow the Lord to guide me and I want to stay on the altar. I want to be broken. I want to stay broken in that place where I don’t get so busy and I don’t get so distracted that everything crowds out the voice of the Lord. I want to hear his voice more clearly”. Really inspiring. Next, the first single “Can Anybody Hear Me?” Is a ballad that shows the great vocal potential and a more personal aspect on the composition of the album. Questioning the apparent silence of God in the face of suffering: “Can anybody hear me? / The silence is deafening / Why do You feel so far away? / When I know You’re here with me / But I just need faith to see / Nothing can separate me from Your love”. The vulnerable and honest “As Long As It Takes” shows us the experience of Andrews with the pressure of songwriting: “I’m tired, do I have to keep proving myself / I’m weary and drawing from and empty well / I need You more than I ever have / So Jesus come and shatter my darkness somehow”. The poignant “Come Home” was written by his brother, and not only expresses the unconditional love of a loving sister, but also the mercy and grace of our eternal Father. The strings and the guitars are submerged on the bridge: “You’re not a disappointment to me / You’re just like the rest of us / Struggling through the journey / I don’t care what secrets you may keep / I could never love you less / Than all the love inside of me”. Sweets pianos interfere in “All Will Fade Away”, while Andrews’s voice shines in all its glory through those wrenching melodies, which are built up to a moment of silence: “Caught up, caught up with You my Jesus / Caught up caught up with You forever / In love in love with You my Jesus / In love in love with You forever”. After his return from an orphanage in Haiti, Andrews met a 6-year-old boy called McKinsley. “He was HIV positive, but the way he loved, it changed my life” confesses Andrews. The chorus of “What It Means To Love” is absolutely captivating: “So how could I go back to life as usual / And how could I return to who I once was / I just want to take your story to the world / ‘Cause you have shown me what it means to love”. The pop beat and synthesizers come with “Live Through Me” and a tireless piano that gives God control of our lives, to fill the gaps in our hearts and to show His glory: “Oh to speak and to hear You speaking / Oh to breathe and to feel Your breath in me / To love like a fire burning / All consuming Father live through me”. Immediately we find “My Soul Sings”, who in the same manner as the previous track, was written with Stu Garrard of Delirious?. It is the song of our soul to see the beauty of our creator: “Infinite God, Intimate Friend / Your love endures, it never ends / Then sings my soul / My soul must sing / Of all You are to me”. The dazzling “In Your Arms”, was co-written by Jared Anderson of Desperation Band, and we can even hear his voice in the chorus. The lyrics gives control to God despite our fears and our walking on darkness: “And I’m in Your arms / Where I belong / There’s no other place for me / Than right where You are / Some things just don’t change / When I call Your name / You never hesitate to wrap me in endless grace / When I’m in Your arms”. At the end of this serenade, we find “How Great Is The Love” with the participation of veteran Paul Baloche, a hymn of gratitude for the wonderful work of salvation: “Thank You for the way that You love us”.

It’s complicated to give a verdict on this album. But we can take into account the fact that Meredith Andrews has written most of her own songs, has defined most strongly her sound and because of that, the album has become more personal and enjoyable. I waited a couple of weeks to review “As Long As It Takes”, and the inspiration it has given me is inexplicable, fascinating.

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En abril del 2007, Meredith Andrews nos sorprendía con un debut que marcaba un prominente y futuro éxito. Este año el retorno de este prodigio musical se titula “As Long As It Takes”, con la producción de Jason Ingram y Rusty Varenkamp (Bebo Norman, Aaron Shust, Tenth Avenue North). Siguiendo con el apoyo de Word Records, con 5 exitosos sencillos al que se le suman el reciente “Can Anybody Hear Me”, nominaciones a los premios Dove y la influencia de nuevas experiencias con la gente que ha conocido en su jornada, este nuevo disco combina el poder y la pasión de su maravillosa voz con su corazón por Dios y la gente que encontró en el camino.

El álbum se apertura con “Never Move On”, con pianos y armonías declaran que al estar en la presencia de Dios, no hay nada que nos pueda mover de ahí: “To the cross I will run for all my Savior has done / I will stay here, never move on / No other moment in time, so glorious so divine / I will stay here, never move on”. Continuando con sazonado pop/rock, “Only To Be Yours” se inspira en el Salmo 86. Meredith nos comparte su inspiración detrás de esta canción: “Debes haber oído esta cita ‘el problema de vivir con sacrificios es que se arrastran sobre el altar’. Eso es lo que estaba pensando cuando comencé la canción, porque a veces puedo ser muy desordenada. Quería decir simplemente: ‘Señor solamente toma todo lo que soy, todo’ y al día siguiente tenía que hacerlo otra vez porque estaba intentando vivir independiente del Señor. Estoy tratando de hacerlo en mi propia fuerza. En realidad necesito la gracia de Dios. Tengo que dejar que el Señor me guíe y me quiero quedar en el altar. Quiero ser quebrado. Quiero permanecer quebrado en aquel lugar donde no estoy tan ocupada y no me siento distraída con la voz de la multitud. Quiero escuchar su voz con más claridad”. Realmente inspirador. Seguidamente, el primer sencillo del álbum “Can Anybody Hear Me?”, es una balada que muestra el gran potencial vocal y la faceta más personal en la composición del álbum. Cuestionando el aparente silencio de Dios en el rostro del dolor: “Can anybody hear me? / The silence is deafening / Why do You feel so far away? / When I know You’re here with me / But I just need faith to see / Nothing can separate me from Your love”. La vulnerable y honesta “As Long As It Takes” nos muestra la experiencia de Andrews con la presión de componer canciones: “I’m tired, do I have to keep proving myself / I’m weary and drawing from and empty well / I need You more than I ever have / So Jesus come and shatter my darkness somehow”. La conmovedora “Come Home” fue escrita por su hermano, y no sólo expresa el amor incondicional de una hermana cariñosa, sino también la misericordia y gracia de nuestro Padre eterno. Los strings y las guitarras se sumergen la el puente: “You’re not a disappointment to me / You’re just like the rest of us / Struggling through the journey / I don’t care what secrets you may keep / I could never love you less / Than all the love inside of me”. Dulces pianos se inmiscuyen en “All Will Fade Away”, mientras que la voz de Andrews brilla en todo su esplendor a través de aquellas desgarradoras melodías, que van construyéndose hasta llegar a un momento de silencio: “Caught up, caught up with You my Jesus / Caught up caught up with You forever / In love in love with You my Jesus / In love in love with You forever”. Luego de su retorno de un orfanato en Haití, Andrews conoció a un  niño de 6 años llamado McKinsley. “Él era VIH positivo, pero la manera que él amaba, me cambió la vida”, nos confiesa Andrews. El coro de “What It Means To Love” es totalmente cautivador: “So how could I go back to life as usual / And how could I return to who I once was / I just want to take your story to the world / ‘Cause you have shown me what it means to love”. El pop beat y los sintetizadores llegan con “Live Through Me” y un incansable piano que le entrega el control a Dios de nuestras vidas, que llene los vacíos de nuestro corazón y que muestre su gloria: “Oh to speak and to hear You speaking / Oh to breathe and to feel Your breath in me / To love like a fire burning / All consuming Father live through me”. Inmediatamente nos encontramos con “My Soul Sings”, quién de la misma manera que el track anterior, fue escrita junto a Stu Garrard de Delirious?. Es el canto de nuestro ser al ver la belleza de nuestro creador: “Infinite God, Intimate Friend / Your love endures, it never ends / Then sings my soul / My soul must sing / Of all You are to me”. La deslumbrante “In Your Arms”, fue co-escrita con Jared Anderson de Desperation Band, e incluso podemos oír su voz en el coro. La letra le entrega el control a Dios a pesar de nuestros medios y la oscuridad en que caminamos: “And I’m in Your arms / Where I belong / There’s no other place for me / Than right where You are / Some things just don’t change / When I call Your name / You never hesitate to wrap me in endless grace / When I’m in Your arms”. Al final de esta serenata, hallamos a “How Great Is The Love” con la participación del veterano Paul Baloche, en un himno de agradecimiento por la magnífica obra de salvación:“Thank You for the way that You love us”. 

Es algo complicado dar un veredicto a este disco. Pero podemos tener en cuenta el hecho que Meredith Andrews ha compuesto la mayoría de sus propias canciones, ha definido con más intensidad su sonido y debido a ello, el álbum se ha tornado más personal y agradable. Estuve esperando un par de semanas hasta reseñar “As Long As It Takes”, y la inspiración que me ha regalado es inexplicable, apasionante.

15 Mar 2010

Before Their Eyes - Untouchable

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Artist: Before Their Eyes
Album: Untouchable
Year: 2010
Label: Rise Records
Myspace: http://www.myspace.com/beforetheireyes
Twitter: @bteband
Buy: iTunes - Amazon - Merch Now
Sounds Like: Saosin, In Fear And Faith, A Skylit Drive, Greeley States, blessthefall , The Word Alive, Greeley Estates, Agraceful, Burden Of A Day, Secret & Whisper, Further Seems Forever, Demon Hunter, The Devil Wears Prada, Attack Attack!, A Plea For Purging, Spoken, The Becoming, Disciple, Red Jumpsuit Apparatus, Boys Like Girl, Drop Dead, Gorgeous
Rating: 5/5 ♥♥♥♥♥

Keeping its pillars of post hardcore with a spiritual message embedded in his lyrics, Before Their Eyes presents his new album “Untouchable” produced by metal guru Joey Sturgis (A Plea For Purging, Attack Attack!, The Devil Wears Prada). A year after the release of “The Dawn Of My Death”, the band proposes a refined extension of their familiar sound, but incorporating a southern rock wave, which adds a different color to this album. Nick Moore (vocals), Landon Tewers (guitar), Elliot Gruenberg (guitar), Hottman Jarrett (drums) and Anthony Damschroder (bass), propound us a new alternative through Rise Records, with contrasts of life in motion and the indestructible hope of man.

Expectations are lit with “Hey Dude!”, showing us post hardcore and very interesting vocal nuances, while the vocal from Nick Moore is becoming more solid. You can hear God’s voice telling you: “I’ve watched you slip away / Don’t say you haven’t changed / You know I’ve known you from the start / I’ve seen the worst in you / I see you leading them astray”. I am more than sure that we were all surprised with “Sing To Me”, first official single from the album. The versatility of the band is visible with this melodic pop track with a seasoned guitar line and a catchy, memorable chorus. It speaks of those sleepless nights of spiritual decadence, those moments when you need to hear God’s voice to remind you your identity: “Would you sing to me / Would you sing to me / ‘cause I can feel a part of me starting to break / And when you are away from me it’s harder to breathe”. With influences from Spoken and Mourning September, the inspirational “Not Alone” reminds us that there are too many needy people out there waiting an outstretched hand and a voice that makes them feel they are not alone: “There’s a hand to hold, You’re not alone / This pain gets old like cracks in stone / Just taking back control, Taking back control”. Playing the broad and confusing topic of love, “Love Is Misery” is perfect for those adolescents with a broken heart: “Give it up, give it up, it’s over / Broken down ‘cause we’re miles from sea to sea / I’ve had enough, had enough, I told her / So it’s over, love is misery”.  The melody is driven, full of optimism and concludes with a tasteful acoustic guitar on an octave lower. “My Match Your Fire” resembles the sound of The Becoming or Further Seems Forever, with lyrics that shamelessly reclaims a girl, as she has caused a disaster in the life of this young man singing: “What did I do to deserve this burning / You bring me down when I’m all I’ve got / I never know cause my mind keeps turning / Why oh why / You’re only happy when I’m not”. With the participation of Kristen Williams, a new-coming female talent, “Start With Today” has an exceptional, passionate duet. Acoustic guitars and synths that complement this whispering ballad with influences of Disciple and Skillet, not forgetting the sublime lyric: “I don’t want you to go / One million miles away / Let you know that it’s okay (let you know that it’s okay) / I will bring you back home / Shelter you from the wind / Light a path with a burning flame (light a path with a burning flame) / We can start with today”. Superb, unbelievable performance ending with a shocking guitar solo. That magical silence is interrupted by screams on “Bulletproof” which makes the second half of the album, a heavy and aggressive image. It’s funny how these guys can become so wild and abstract line, in something as divine as in the following lines: “Take it away, I’ll free you from blame / ‘cause you know that I wanted to but I just couldn’t look at you / Inside my veins, my anger sustains / Yeah you know that I wanted to and my aim was just hurting you / You’re not bulletproof”, the cry of God reminding us that we are humans and we need his direction. “Finding a Way” reminds me of Secret & Whisper, an impulse lyric and the similarity of guitar riffs that encourage us to not give up, be strong and find the way of salvation: “Every step that I take / Every movement I make / Nothing can stop me, no I will not break”. Those guitar and violin lines gave me some indescribable chills, they all are epic. The sweeping “Rick Vs Nick” is starred by Landon Tewers (screams) in a noisy symphony full of secrets, lies, truths and excuses. The enemy’s terrifying scream is heard in “Hell or High Water”, which tries to seduce us with his lies. The pulse of the song freezes for a moment and desperately proclaimed: “We can make it / We will survive / On the coldest night / I pray for you tTo keep pushing on / Even though my life has ended / There’s still a life after death”. But we know that our heavenly lawyer is interceding for us and the battle has been won. Finally, the acoustic version of “Start With Today”, provides the perfect ending to this unexpected and powerful experience.

The change must be our only constant, and Before Their Eyes has taken this phrase to heart. With “Untouchable”, the band’s audience is amplified and consolidated. Each song keeps you watching, and leaves you impressed with unexpected melodies and a resounding message.

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Manteniendo sus pilares de post hardcore con un mensaje espiritual arraigado en sus letras, Before Their Eyes nos presenta su nuevo disco “Untouchable” producido por el gurú del metal Joey Sturgis (A Plea For Purging, Attack Attack!, The Devil Wears Prada). Un año después del lanzamiento de “The Dawn Of My Death”, la banda nos propone una refinada extensión de su ya conocido sonido, pero incorporando una onda southern rock, que le agrega un color diferente a este álbum. Nick Moore (vocalista), Landon Tewers (guitarra), Elliot Gruenberg (guitarra), Jarrett Hottman (batería) y Anthony Damschroder (bajo) nos plantean una nueva alternativa a través de Rise Records, con contrastes de la vida en movimiento y la indestructible esperanza del hombre.

Las expectativas se enciende con “Hey Dude!”, que muestra post hardcore y matices vocales muy interesantes, mientras que el registro vocal de Nick Moore se hace cada vez más sólido. Puedes oír la voz de Dios diciéndote: “I’ve watched you slip away / Don’t say you haven’t changed / You know I’ve known you from the start / I’ve seen the worst in you / I see you leading them astray”. Estoy más que seguro que todos nos sorprendimos con “Sing To Me”, primer sencillo oficial del álbum. La versatilidad de la banda es visible con este track de pop melódico, con una línea de guitarra avezada y un pegajoso, memorable estribillo. Nos habla de aquellas noches de insomnio espiritual, de decadencia, aquellos momentos cuando necesitamos oír la voz de Dios para que nos recuerde nuestra identidad: “Would you sing to me / Would you sing to me / ‘cause I can feel a part of me starting to break / And when you are away from me it’s harder to breathe”. Con influencias de Mourning September y Spoken, la inspiradora “Not Alone” nos recuerda que hay demasiada gente necesitada ahí afuera, que espera una mano extendida y una voz que les haga sentir que no están solos: “There’s a hand to hold, You’re not alone / This pain gets old like cracks in stone / Just taking back control, Taking back control”. Tocando el amplio y confuso tema del amor, “Love Is Misery” va dirigido a aquellos adolescentes con un quebrantado corazón: “Give it up, give it up, it’s over / Broken down ‘cause we’re miles from sea to sea / I’ve had enough, had enough, I told her / So it’s over, love is misery”. La melodía es impulsadora, llena de optimismo y se concluye con una acertada guitarra acústica en una octava inferior. “My Match, Your Fire” se asemeja al sonido de The Becoming o Further Seems Forever, con una desvergonzada letra que le reclama a una muchacha, como ella ha provocado un desastre en la vida de este muchacho que canta: “What did I do to deserve this burning / You bring me down when I’m all I’ve got / I never know cause my mind keeps turning / Why oh why / You’re only happy when I’m not”. Con la participación de Kristen Williams, un nuevo talento femenino con mucho futuro, “Start With Today” posee un dueto excepcional,  apasionado. Guitarras acústicas y susurrantes sintetizadores que complementan esta balada con influencias de Disciple o Skillet, sin dejar de lado la sublime letra: “I don’t want you to go / One million miles away / Let you know that it’s okay (let you know that it’s okay) / I will bring you back home / Shelter you from the wind / Light a path with a burning flame (light a path with a burning flame) / We can start with today”. Magnífica interpretación, increíble desenlace con un solo de guitarra estremecedor. Aquel mágico silencio, se interrumpe con gritos en “Bulletproof” que convierte a la segunda mitad del álbum, en una imagen pesada y agresiva. Es curioso como estos muchachos pueden convertir acordes tan salvajes y abstractos, en algo tan divino como en las siguientes líneas: “Take it away, I’ll free you from blame / ‘cause you know that I wanted to but I just couldn’t look at you / Inside my veins, my anger sustains / Yeah you know that I wanted to and my aim was just hurting you / You’re not bulletproof”, el grito de Dios recordándonos que somos humanos y que necesitamos su dirección. “Finding A Way” me recuerda a Secret & Whisper, en una impulsadora lírica y la analogía de sus riffs de guitarra que nos animan a no rendirnos, ser fuertes y encontrar el camino de la salvación: “Every step that I take / Every movement I make / Nothing can stop me, no I will not break”. Aquellas líneas de guitarra y violines me dieron unos escalofríos indescriptibles, son épicos. La arrasadora “Rick Vs. Nick” se protagoniza por Landon Tewers (gritos) en una estrepitosa sinfonía llena de secretos, mentiras, verdades y excusas. El grito aterrador del enemigo se oye en “Hell Or High Water”, que nos intenta seducir con sus mentiras. El pulso de la canción se paraliza por unos instantes y proclama desesperadamente: “We can make it / We will survive / On the coldest night / I pray for you tTo keep pushing on / Even though my life has ended / There’s still a life after death”. Pero sabemos que nuestro abogado celestial está intercediendo por nosotros, y batalla ya ha sido ganada. Finalmente, la versión acústica de “Start With Today”, proporciona el desenlace perfecto y poderoso para esta inesperada experiencia.

El cambio debe ser nuestro único constante, y Before Their Eyes ha adoptado esta frase muy a pecho. Con “Untouchable”, la audiencia de la banda se amplifica y consolida. Cada canción te mantiene a la expectativa, y te deja impresionado, con melodías inesperadas y un mensaje resonante.