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30 Jun 2010
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And Then There Were None - Who Speaks For Planet Earth?

Artist: And Then There Were None
Album: Who Speaks For Planet Earth?
Year: 2009
Label: Tooth & Nail Records
Web: http://andthentherewerenonemusic.com/
Myspace: http://www.myspace.com/andthentherewerenone
Facebook: http://www.facebook.com/andthentherewerenone
Twitter: @attwn
Buy: iTunes - Amazon - Tooth & Nail Store - Interpunk
Sounds Like: Code of Ethics, Eleventyseven, Family Force 5, Krystal Meyers, Daft Punk, Moby, Basshunter, Darude, Cave In, This Day Forward, Glassjaw, As I Lay Dying, Darkest Hour, Sky Eats Airplane, Swimming With Dolphins, Owl City
Rating: 3/5 ♥♥♥♥♥

Apparently, And Then There Were None is in addition to the massive cluster of bands that are mutated in their sound. In this case the concept of metal-core transforms into a glamorous dance/techno/electronic. According to vocalist Matt Rhoades, is much more natural to produce this kind of music and this creative concept resulted in “Who Speaks For Planet Earth?”.

The pulsating synthesizers of “John Orr The Arsonist” challenge Christians to shine the light of Christ, without shame or fear of being unpopular. The story of an estranged relationship between a father and son is presented in “The Hospital”. The prayer of a son who wants to see his father in a process of inner healing. “Reinventing Robert Cohn” has become one of the most emblematic tracks for the band. Successful keyboards and melodies that seem to describe a young man fighting sexual temptation in a war against the flesh. The particular effect that “Action Is Anecdote” has, began as a punk ballad, but quickly transformed into dance/electro. The lyrics talk about the choice of being a broken person live without love or being a fertile seed, which has the potential to become something beautiful. The octaves are qualified with “The Atmosphere” and its significance feature about heaven and death. With a more alternative choice, “Cloak And Dagger” talks about those secrets and hidden addictions that eat our soul. Melancholy chords and dynamic interfere in “Right Here Waiting” (Richard Marx’s original cover) trying to revive that 90’s success single in a monotone way. The work of Matt McCommish (synthesizers) in the charming “Bed Of Nails” is simply impeccable, while in “Thank The Watchmaker” guitars (Sean Sweeney and Nick Massah) and drums (Ryan Manning) took the reins of the song. “The Alamo” leans more towards a rock side, using background vocals and more clear and explicit lyrics. Finally, “Insozzz …” fades very lazy using abstract phrases without sympathy.

A journey filled with passion and sincerity, masked fun with catchy beats. Sure to please.

Al parecer, And Then There Were None se suma a la masiva agrupación de bandas que mutan en su sonido. En este caso el concepto se transforma del metal-core hacia un glamoroso dance/techno/electronic. Según el vocalista Matt Rhoade, es mucho más natural producir este tipo de música y este creativo concepto dio como resultado “Who Speaks For Planet Earth?”.

Los palpitantes sintetizadores de “John Orr The Arsonist” retan a los cristianos a brillar con la luz de Cristo, sin vergüenza ni temor a ser impopulares. La historia de una relación distanciada entre un padre y su hijo se presenta en “The Hospital”. La oración de un hijo que quiere ver a su padre en un proceso de sanidad interior. “Reinventing Robert Cohn” se ha convertido en uno de los tracks más emblemáticos para la banda. Acertados teclados y melodías que parecieran describir a un muchacho luchando contra las tentaciones sexuales en una guerra contra la carne. El efecto particular que “Action Is Anecdote” posee, comienza como una balada punk, pero rápidamente se transforma en dance/electro. La letra nos habla sobre la elección de ser una persona quebrada viviendo sin amor o ser una semilla fértil, que tiene el potencial de convertirse en algo hermoso. Las octavas se matizan con “The Atmosphere” y su característica significación sobre el cielo y la muerte. Con una influencia mucho más alternativa, “Cloak And Dagger” nos habla sobre aquellos secretos y adicciones ocultas que carcomen nuestra alma. Acordes melancólicos y dinámicos se inmiscuyen en “Right Here Waiting” (cover original de Richard Marx) intentando reanimar aquel éxito noventero de una manera monótona. El trabajo de Matt McCommish (sintetizadores) en la encantadora “Bed Of Nails” es simplemente impecable, mientras que en “Thank The Watchmaker” las guitarras (Sean Sweeney y Nick Massahos) y tambores (Ryan Manning) toman las riendas de la canción. “The Alamo” se inclina más hacia una faceta rock, empleando voces de fondo de una manera más clara y explícita. Finalmente, “Insozzz…” se desvanece con mucha pereza, usando abstractas frases que carecen de simpatía.

Un recorrido lleno de pasión y sinceridad, enmascarado de diversión con ritmos pegajosos. Una delicia al paladar.

29 Jun 2010
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Dr. Seahorse - Symptons Of Trend

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.

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
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Derek Webb - Stockholm Syndrome

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?

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?

21 Apr 2010
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Sixteen Cities - Sixteen Cities

Artist: Sixteen Cities
Album: Sixteen Cities
Year: 2010
Label: Centricity Music/EMI CMG
Website: http://sixteencities.com/
Myspace: http://www.myspace.com/sixteencities
Facebook: http://www.facebook.com/sixteencities
Twitter: @sixteencities
Buy: iTunes - Amazon - Official Store
Sounds Like: The Fray, Jars Of Clay, The Afters, Death Cab For Cutie, Brandon Heath, Tenth Avenue North, Hawk Nelson, Leeland, Bebo Norman, Rush Of Fools, Stellar Kart, Me In Motion, Satellites & Sirens, Abandon, Newsboys, Revive
Rating: 5/5 ♥♥♥♥♥

As I promised, Centricity Music gives us in this first part of the year, highly anticipated debut of another of their new members. Sixteen Cities, formed by Josiah Warneking (vocals, piano), Joshua Miller (guitar), Dustin Erhardt (lead guitar), Chad McCutchen (drums) and Joel Warneking (bass), are influenced by bands like The Fray, Jars Of Clay , The Afters and Death Cab For Cutie. The selftitled album features production by Jason Ingram (Brandon Heath, Meredith Andrews, Tenth Avenue North), Steve Wilson (Hawk Nelson, Leeland) and Rusty Varenkamp (Bebo Norman, Rush Of Fools).

The adrenaline starts with “Just Want to Dance”, showing the band’s strengthened faith. Many times our trust in God fades, we missed our first love; and this song encourages us to believe that while everything around us may change, God never did: “You are the same unchanging God that made me free”. Then we met with the harsh but honest “Save Me From Myself”, which through powerful guitars sincerely declare that our heart is not strong enough to walk alone in life, and definitely needs God: “You save me / Save me from myself / ‘Cause there is no one else / I’d lean on / You save me / You save me from myself / There is no one else to set me free”. Quickly, we find the first single, “Sing Along” who joyfully gives praise to God for the wonderful creation that he designed: “I love the way the stars shine for You / And every single mountain bows down / I love the way the universe is singing Your song / So I’ll try to sing along”. I met Sixteen Cities listening to “Pray You Through”, that suddenly became an anthem about the strength that we give to those who struggle with the petitions, especially if their problems are so difficult that mere words won’t provided the remedy: “I’m all out of words / There’s nothing I could say to you / To take away the hurt / So let me pray you through”. Many times we hesitate to surrender our destiny to serve God, but His grace gives us the conviction that everything we do is always worth the trouble. That is the message of “Only After You”, featuring insightful guitar riffs and piano, and that reminds me Stellar Kart. Then, “Come As You Are” arrays with contemplative pianos with the voice of God calling us to their presence, regardless of our condition: “Come to Me and I will love you more than you have ever known / Come to Me and I will take you places you have never been before / I love you more”. Showing the great forgiveness of God, “Innocent” reminds us that even knowing that we’ll fail a thousand times, His grace will not let us down: “And you say to me that I’m already innocent / And I can’t believe you take me as I am / And I’m on my knees begging for forgiveness / I know I’m guilty but you make me innocent”. The energetic “Captured” explodes in total devotion. Pianos accurate and powerful voice of Josiah by declaring: “You are the only one who can save me / Save me from myself / I’m gonna need your help / Take me and break me / Until I stand before You holy / I can’t get enough / I’m captured by Your love”. With an upbeat message, “Someone’s Work Of Art” is God whispering the identity we have in Him, in the midst of disappointment and uncertainty: “You are someone’s work of art / Just the way you are / And you’re shining like the stars tonight / All the pieces of your heart / And the lovely scars / Are someone’s work of art”. With a similar message, “Bleeding For You” reminds us of the sacrifice of Christ as the reason for our suffering and pain are gone: “You are more than a heart simply beating / If only you knew / You can have this love that is bleeding / Bleeding for you”. Finally, the somber ballad “Winter” becomes a cry of redemption: “‘Cause I’ve been searching for the sun / But I don’t know if anyone / Can tell me how to find my way home / All the things that I’ve become / Are all the things I’m running from / I don’t want my heart to turn to stone / This cold has been so bitter / Can You save me from this winter?”. The pianos are intertwined with the strings and the sweet melody that desperately ends this recording.

“We started playing in high school leading worship on Wednesday morning, and we loved this experience”, explains the singer and keyboardist of the band Josiah Warneking. “When we graduated we were praying to find God’s will. We feel called to music ministry, but with no interest in the music industry. One or two weeks later we called a person of a ministry called Common Ground, which is basically responsible for organizing concerts, games and presentations of the Gospel in public schools. So we thought we would no longer continue singing options to students once they graduate, we opened the door to remain in front of hundreds and sometimes thousands of teenagers singing about Jesus”.

I have to confess I expected a little more flexibility in the sound of this album, but it is worth noting that the progression of each of its tracks is perfect. An acoustic and intimate adventure that fuses rock with pop fully ready to conquer the world. Sixteen Cities, as Me In Motion, have a prominent future.

Como lo prometido es deuda, Centricity Music nos entrega en esta primera parte del año el tan esperado debut de otro de sus nuevos integrantes. Sixteen Cities, conformado por Josiah Warneking (vocalista, piano), Joshua Miller (segunda guitarra), Dustin Erhardt (primera guitarra), Chad McCutchen (batería) y Joel Warneking (bajo), reciben influencias de bandas como The Fray, Jars Of Clay, The Afters y Death Cab For Cutie. El autitulado álbum cuenta con la producción de Jason Ingram (Brandon Heath, Meredith Andrews, Tenth Avenue North), Steve Wilson (Hawk Nelson, Leeland) y Rusty Varenkamp (Bebo Norman, Rush Of Fools).

La adrenalina arranca con “Just Wanna Dance”, mostrándonos la fortalecida fe de la banda. Muchas veces nuestra confianza en Dios se va apagando, echamos de menos nuestro primero amor; esta canción nos anima a creer que si bien todo a nuestro alrededor puede cambiar, Dios nunca lo ha hecho: “You are the same unchanging God that made me free”. Seguidamente nos encontramos con la cruda pero honesta “Save Me From Myself”, que a través de potentes guitarras declara con sinceridad que nuestro corazón no es lo suficientemente fuerte para caminar solos en la vida, y que definitivamente necesitamos a Dios: “You save me / Save me from myself / ‘Cause there is no one else / I’d lean on / You save me / You save me from myself / There is no one else to set me free”. Rápidamente, nos encontramos con el primer sencillo del álbum, “Sing Along” que gozosamente brinda alabanza a Dios por la maravillosa creación que Él diseñó: “I love the way the stars shine for You / And every single mountain bows down / I love the way the universe is singing Your song / So I’ll try to sing along”. Conocí a Sixteen Cities, por medio de “Pray You Through”, que en solo instantes se convirtió en un himno sobre la fortaleza que entregamos a aquellas personas que luchan con las peticiones, sobre todo si sus problemas resultan tan difíciles que las meras palabras no proporcionan el remedio: “I’m all out of words / There’s nothing I could say to you / To take away the hurt / So let me pray you through”. Muchas veces dudamos de nuestro destino al entregarnos al servicio de Dios, sin embargo su gracia nos da la convicción de que todo lo que hagamos siempre valdrá la pena. Ese es el mensaje de “Only After You”, que cuenta con perspicaces rasgueos de guitarra y piano, y que me recuerda a Stellar Kart. Luego, “Come As You Are” se atavía de contemplativos pianos junto a la voz de Dios que nos llama hacia su presencia, sin importar nuestra condición: “Come to Me and I will love you more than you have ever known / Come to Me and I will take you places you have never been before / I love you more”. Mostrando el gran perdón de Dios, “Innocent” nos recuerda que aún sabiendo que volveremos a fallar una y mil veces, su gracia no nos deja caer: “And you say to me that I’m already innocent / And I can’t believe you take me as I am / And I’m on my knees begging for forgiveness / I know I’m guilty but you make me innocent”. La enérgica “Captured” estalla en total devoción. Pianos certeros y la potente voz de Josiah al declarar: “You are the only one who can save me / Save me from myself / I’m gonna need your help / Take me and break me / Until I stand before You holy / I can’t get enough / I’m captured by Your love”. Con un impulsador mensaje, “Someone’s Work Of Art” es Dios susurrándonos la identidad que tenemos en Él, en medio de la desilusión y la incertidumbre: “You are someone’s work of art / Just the way you are / And you’re shining like the stars tonight / All the pieces of your heart / And the lovely scars / Are someone’s work of art”. Con un mensaje similar, “Bleeding For You” nos recuerda el sacrificio de Cristo como la razón para que nuestras penas y dolor se acaben: “You are more than a heart simply beating / If only you knew / You can have this love that is bleeding / Bleeding for you”. Finalmente, la balada sombría “Winter” se convierte en un clamor de redención: “‘Cause I’ve been searching for the sun / But I don’t know if anyone / Can tell me how to find my way home / All the things that I’ve become / Are all the things I’m running from / I don’t want my heart to turn to stone / This cold has been so bitter / Can You save me from this winter?”. Los pianos se entrelazan con las cuerdas y la dulce melodía que desesperadamente culmina esta grabación.

“Empezamos tocando en el instituto dirigiendo la alabanza los miércoles por la mañana, y nos encantó esta experiencia”, explica el cantante y teclista de la banda Josiah Warneking. “En el momento de graduamos estuvimos orando para encontrar la voluntad de Dios. Nos sentirnos llamados al ministerio musical, pero sin tener ningún interés en la industria musical. Una o dos semanas más tarde nos llamó una persona de un ministerio llamado Common Ground, que se encarga básicamente de organizar conciertos, juegos y presentaciones del Evangelio en escuelas públicas. Así que nosotros que pensábamos que ya no tendríamos opciones de continuar cantando a los estudiantes una vez graduados, se nos abrió la puerta de poder seguir estando en frente de centenares y, a veces, miles de adolescentes cantando sobre Jesús”.

Tengo que confesar que esperaba un poco más de agilidad en el sonido de este álbum, pero cabe resaltar que la progresión de cada uno de sus tracks es perfecta. Una aventura acústica e íntima que se fusiona con pop rock totalmente preparado para conquistar el mundo. Sixteen Cities, al igual que Me In Motion, tienen un futuro prominente.

10 Apr 2010
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Flatfoot 56 - Black Thorn

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.

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.

7 Apr 2010
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Brave Saint Saturn - Anti-Meridian

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.

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
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The Acclaim - The Time Is Now (EP)

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.

“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
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Nathan Morris - Just Me, Just You (EP)

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.

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.

2 Apr 2010
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Jez - ¡Oh Corazón!

Artist: Jez
Album: ¡Oh Corazón!
Year: 2010
Label: CanZion Group/Integrity
Website: http://www.jeztunes.com/
Myspace: http://www.myspace.com/eleventyseven
Facebook: http://www.facebook.com/jeztunes
Twitter: @jeztunes
Buy: iTunes - Official Store
Sounds Like: U2, Bob Dylan, David Grey, Kevin Prosch, Radiohead, Dave Matthews, Jeff Buckley, Keith Green, Sigur Rós, La Ley
Rating: 5/5 ♥♥♥♥♥

I have to confess that I have no great love for music in Spanish. It’s simple, I grew up listening to music in English and even today I have not heard a Christian band or solo that have caught me with his lyrics and music. Ironically, today I present an album in this language: Spanish. 4 or 5 years ago, and after Hillsong Australia invade our worship services on Sundays, a band called Vertical came up, who made some very interesting covers, and though all tracks were produced by Integrity Music (Lincoln Brewster, MercyMe, Ten Shekel Shirt), the boys were able to welcome a productive career. Jezarey Babarzcy, or simply Jez, is a Peruvian-American with a profound musical influence dating back to his childhood. Even before being membership on Vertical, he was already forming a band called Broken Vessels. Through the years, Jez began to define his sound, his style and he start to write, write and write. Marcos Witt was captured by the talent and passion of this boy, and he invited Jez to join the CanZion family. Two albums were born of this experience, one in English (“The Turns”) and one in Spanish (“En Medio Del Silencio” [In The Midst Of Silence]). This year, “¡Oh Corazón!” (Oh Heart!) aims to break all the schemes, stereotypes and labels in Spanish Christian music. 12 songs heavily influenced by American folk, and the multifaceted U2, Bob Dylan, David Grey, Kevin Prosch, Radiohead, Dave Matthews, Jeff Buckley, Keith Green, Sigur Rós and more. 12 songs that draw poetry, melancholy and sincerity, written in a musical language that only humans understand. Formed by Jez on lead vocals and guitars, Isaiah Rangel on drums, pianos, keyboards and vocals, Tyler Halford on bass and vocals, along with Ted Kuschel on electric guitar and lap steel; these four guys produced the album with the additional participation of Beau Bedford and Juan Blas Caballero (Julieta Venegas, Axel, Andrés Calamaro, Rescate Gospel Rock, Alex Campos). So, shall we begin?

The first single, “Dando Da” (Giving, give) opens with a lyrical reflection, guitars and mysterious melodies that embalm the cello and violins. The essence of this song talks about one of our missions on earth as children of God. Give and find what we seek: “Life is a canvas that looks for a painter / paint color / paint love”. With strong folk influences, steadfast guitar riffs and touches of Lq Ley, “La Razón” (The Reason) gives us the answer to our question as human: Who can save us?. Jesus is one song who wrote the love and gave wings to our heart, and now we can fly. Some Latin touches on the instrumental where the guitar delays and bass take the wheel of the song. “Aleluya” (Hallelujah) plotted us in a biblical story where Jesus and his disciples are in the midst of the storm. The desperation and uncertainty of the crew goes out with a simple but powerful statement: “Hallelujah”. The pianos, guitars and that quirky melody give us the security of our faith in Jesus: “I feel the heat of the flame of love / It’s like a fire out of control / and burns my soul and heart / If the ice is around you, join my song”. Many similarities of U2 and Coldplay. The safe and nothing wavering “Camino Voy” (I Go Away) is a poem of struggle, a story of a man who fell on the road, a man who disguises his misery with kindness: “There was a man who doubted in the way / If he could arrived in this life / When on the road He could not and fell / I saw that man was none other than me”. Synths and strings through a masterful instrumental, which ends with an epic and symphonic almost perfect outcome. I’m sure you’ve been amazed with the final seconds of this track. “Change” becomes a warmer and positive color. It reflects the metamorphosis of our lives, our environment, when Jesus comes into our lives: “Today there is war wherever you go / I have faith that tomorrow will be peace / This voice sings because it wants to believe / That this is the change that will happen / History changes with each beat / Of a heart that has learned to love / The world changes in every turn away / What today is coming, soon will go / Today I come to give you a love that will not change”. It was impossible to not transcribe these wonderful phrases. “Rey De Amor” (King Of Love) is immersed in worship, asking for God to teaches us how to love. A symphony of love, commitment and devotion that yearn to live near the heart of God. The sweet but enigmatic “Vuelve” (Come Back), is the eager voice of God having us around. Also, we hear our response: “He took evil in a hellish cup / and He loved me before I was born”. Musically it sounds like a Coldplay eternal climax, combined with the eccentric sight of Keane. Ana Laura is involved in the sublime “Gracia” (Grace), adding to the distant voice of Jez, an angelic and perfect touch bursting in this poem of joy: “As the deep sea in which I sink, cover me / As the fire burning from deep inside, ignite me”. A beautiful duet, culminating in an unforgettable explosion of classic pianos that are muted with “#9”, a kind of eternal intermediary. The original flavor of this album gives it “¡Tanto!, ¡Tanto!” (So Much, So Much), with hints of bossa nova and jazz, where a delicate piano, guitar and Jez’s raspy whispering voice give us a poetry of love: “Nobody can remove me this, neither the time nor the solitude / These years will see that my heart for you is”. With the same record, “Tu Voz” (Your Voice) is a bohemia composition with a beautiful lyrical that chart our weakness which often prevents us from hearing this gracious voice: “Speak Lord / Come with your voice / If once you sent the sea stilled, calm the storm in me”. The anthem of the album “Oh Corazón” (Oh Heart) establishes a conversation between our heart and God. The delicate voice and guitar are building a harmonious road of feelings: “Oh heart, you’re the center / Oh heart, breath and life / Strength and faith of the unborn / Ripe fruit of love, consistently love”. Then, the passion increases the atmosphere with words, melodies and delays that underpin a shocking image of heaven. Sigur Rós would be proud of these chords and rhythms. Finally, the guitar concludes by saying: “Oh heart, I follow your steps / Oh heart, like a hug kiss / ‘til reach and ‘til be as a reflection / of a man who made your home in his chest”. Curiously, the album gives us a hidden track, which adds a special magic being performed in English. What a privilege!

I love the work of this simple man, it has motivated me to dream, believe and create, to communicate my faith from daily life, not to cling to trivial things. To overcome traditional boundaries moved by my passion, fire and love for what I do. The essence of “¡Oh Corazón!” (Oh Heart!) are the experiences of a Psalmist facing his new role as a husband and father. Jez has the ability to give a word to the feeling, draw his life on a canvas.

Tengo que confesar que no tengo mucha afición a la música en español. Es simple; crecí oyendo música en inglés y hasta el día de hoy no he oído una banda o solista cristiano que me haya capturado con su lírica y música. Irónicamente, el día de hoy les presento un álbum en este idioma: español. Hace 4 o 5 años atrás, y luego que Hillsong Australia invada nuestros servicios de adoración de los domingos, surgía una banda llamada Vertical, que hacían unos covers muy interesantes, y si bien todos eran pistas producidas por Integrity Music (Lincoln Brewster, MercyMe, Ten Shekel Shirt), los muchachos lograron con satisfacción una productiva carrera. Jezarey Babarzcy, o simplemente Jez, es de origen peruano-norteamericano y con una profunda influencia musical que data desde su niñez. Incluso antes de pertenecer a Vertical, ya venía conformando una banda llamada Broken Vessels. A través de estos años, Jez comenzó a definir su sonido, su estilo y a escribir, escribir y escribir. Marcos Witt fue capturado por el talento y la pasión de este muchacho, e invitó a Jez a unirse a la familia de CanZion. Dos álbumes nacieron en esta experiencia, uno en inglés (“The Turns”) y otro en español (“En Medio Del Silencio”). Este año, “¡Oh Corazón!” pretende romper todos los esquemas, estereotipos y etiquetas de la música cristiana en español. 12 canciones fuertemente influenciadas por el folk norteamericano, y los polifacéticos U2, Bob Dylan, David Grey, Kevin Prosch, Radiohead, Dave Matthews, Jeff Buckley, Keith Green, Sigur Rós y más. 12 canciones que dibujan poesía, melancolía y sinceridad, escritas en un lenguaje musical que solo los humanos entenderán. Conformado por Jez en la voz principal y guitarras, Isaiah Rangel en la batería, pianos, teclados y voces, Tyler Halford en el bajo y voces, junto a Ted Kuschel en la guitarra eléctrica y lap steel; estos cuatro muchachos produjeron el disco junto a la participación adicional de Beau Bedford y Juan Blas Caballero (Julieta Venegas, Axel, Andrés Calamaro, Rescate Gospel Rock, Alex Campos). Entonces, ¿empezamos?

El primer sencillo del álbum, “Dando Da” arranca con una lírica de reflexión, guitarras y melodías misteriosas que se embalsaman por el cello y los violines. La esencia de esta canción nos habla sobre uno de nuestras misiones como hijos de Dios en la tierra. Dar y encontrar lo que buscamos. “La vida es un lienzo que busca pintor / Pinta color / Pinta al amor”. Con fuertes influencias folklóricas, inquebrantables riffs de guitarra y algunas pinceladas de La Ley, “La Razón” nos da la respuesta a nuestra interrogante como humanos: ¿Quién nos podrá salvar?. Jesús es aquella canción que escribió el amor y le dio alas a nuestro corazón, y ahora podemos volar. Algunos toques latinos en el instrumental en dónde los delays de guitarra y el bajo toman el volante de la canción. “Aleluya” nos grafica en aquella historia bíblica, dónde Jesús y sus discípulos están en medio de la tormenta. La desesperación e incertidumbre de los tripulantes se apaga con una simple pero poderosa declaración: “Aleluya”. Los pianos, guitarras y aquella extravagante melodía que nos entrega la seguridad de nuestra fe en Jesús: “Siento la llama del calor del amor / Es como un fuego fuera de control / y me quema el alma y el corazón / Si el hielo te rodea, únete a mi canción”. Muchas semejanzas de U2 y Coldplay. La segura y nada titubeante “Camino Voy”, es un poema de lucha, una historia de un hombre que cayó en el camino, un hombre que disfraza sus miserias con bondad: “Hubo un hombre que en el camino dudó / Si es que en esta vida podría llegar / Cuando en el camino no pudo y cayó / Vi que ese hombre no era otro sino yo”. Sintetizadores y cuerdas protagonizan un magistral intermedio, que se concluye con un épico casi perfecto y sinfónico desenlace. Estoy seguro que te has quedado boquiabierto con los últimos segundos de este track. “Cambia” se torna de un color más cálido y positivo. Refleja la metamorfosis de nuestras vidas, de nuestro entorno, cuando Jesús viene a nuestras vidas: “Hoy hay guerra dónde quiera que vas / Yo tengo fe que mañana habrá paz / Canta esta voz porque quiere creer / que este es el cambio que va a suceder / Cambia la historia con cada palpitar / de un corazón que ha aprendido a amar / Cambia el mundo en las vueltas que da / Lo que hoy viene muy pronto se irá / Hoy te vengo a dar un amor que no va a cambiar”. Era imposible no transcribir estas maravillosas frases. “Rey De Amor” se sumerge en adoración, pidiéndolo a Dios que nos enseña a amar. Una sinfonía de amor, de entrega y devoción que anhelan vivir cerca al corazón de Dios. La dulce pero enigmática “Vuelve”, es la voz de Dios deseosa por tenernos cerca. Además oímos nuestra respuesta: “Tomó mi maldad en copa infernal / y antes de nacer me amó”. Musicalmente me suena a un clímax eterno de Coldplay, combinado con la excéntrica mirada de Keane. Ana Laura participa en la sublime “Gracia”, agregándole a la lejana voz de Jez, un toque angelical y perfecto para estallar en esta poesía de júbilo: “Como el mar profundo en el que me hundo, cúbreme / Como el fuego ardiendo, desde muy adentro, enciéndeme”. Un dueto espléndido, inolvidable que culmina en una explosión de pianos clásicos, que se enmudecen con “#9”, una especie de eterno intermedio. El sabor original de este álbum lo entrega “¡Tanto!, ¡Tanto!” con pizcas de bossa nova y jazz, en dónde un delicado piano, susurrantes guitarras y la rasposa voz de Jez nos regalan una poesía de amor: “Nadie me lo podrá quitar, ni el tiempo ni la soledad / Estos años podrán comprobar que mi corazón por ti está”. Con el mismo registro, “Tu Voz” es una bohemia composición con una lírica hermosa, que grafica nuestra debilidad la cual muchas veces nos impide oír aquella misericordiosa voz: “Habla Señor / Acércate con tu voz / Si una vez mandaste callar al mar, calma en mi la tempestad”. El himno del álbum “Oh Corazón” establece una conversación entre nuestro corazón y Dios. La delicada voz y guitarra van construyendo una armoniosa carretera de sentimientos: “Oh corazón, eres el centro / Oh corazón, como vida al aliento / Fuerza y fe de la vida naciente / Fruta madura del amor, amor consistente”. Luego se incrementa la pasión de la atmósfera con frases, melodías y delays que cimientan una estremecedora imagen celestial. Sigur Rós estaría orgulloso de estos acordes y compases. Finalmente, la guitarra concluye al decir: “Oh corazón, sigo tus pasos / Oh corazón, como el beso al abrazo / Hasta llegar y hasta ser como el reflejo / de un hombre que hizo para ti tu casa en su pecho”. Curiosamente el álbum nos regala un hidden track, que agrega una magia particular al estar interpretada en inglés. Que privilegio!

Me he enamorado del trabajo de este sencillo hombre, me ha motivado a soñar, a creer y a crear, a transmitir mi fe desde lo cotidiano, sin aferrarme a cosas triviales. A sobrepasar mis límites tradicionales movidos por la pasión, el fuego y el amor por lo que hago. La esencia de “¡Oh Corazón!” son las vivencias de un salmista que afronta su nuevo rol como esposo y padre. Jez posee la habilidad de dar palabra al sentimiento, de dibujar en un lienzo su vida.

1 Apr 2010
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eleventyseven - Adventures In Eville

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.

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.

30 Jun 2010
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19 notes

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eleventyseven - Adventures In Eville

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