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29 Jun 2010

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.

21 Apr 2010

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

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.

5 Apr 2010

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.

17 Mar 2010

Andrew Greer - Open Book

Artist: Andrew Greer
Album: Open Book
Year: 2009
Label: Mr Andy’s Music
Website: http://andrew-greer.com/
Myspace: http://www.myspace.com/andrewgreermusic
Twitter: @agreermusic
Buy: iTunes - Amazon - Official Store
Sounds Like: Elton John, Ryan Adams, Mat Kearney, Ginny Owens, Julie Lee, Cindy Morgan, Michael Buble, The Elms, The Who, Emmylou Harris, James Taylor, Greg Sczebel
Rating: 4/5 ♥♥♥♥

Andrew Greer discovered the secret to communicate with his Creator. It all started when he decided to move away from the noise of civilization and go into the mountains to compose with an 80 years old piano. Desperate to uncover the truth, he decided to surrender his perpetual anguish, his sin, into a dark night of the soul and pray for a morning of grace. All of these feelings and experiences gave birth to “Open Book”, produced by the same Andrew Greer and mastered by Matt Odmark (Jars Of Clay). The creativity of this album, involves a lyrical blend of deep, complex instrumental and sentimental vocal melodies, which transports the listener into different stages and levels of worship.

A vibe organ opens the album in “And To Our God” which reminds us that God is with us even in failure. Inspired by Psalm 22:11, this song is the answer for those days of weakness: “And to our God, and to the Lamb / Who says wherever you are / There I am / And to the hope, that this King brings / Into our lives, into our days / Into everything / And to our God”. With a melancholy feeling and captivating soul/piano, “Time Has No Meaning” sounds like Elton John and Greg Sczebel, reflecting the pain we feel at losing a loved one: “And everytime I look into the sky / I wonder when I’ll earn my own wings to the other side”. The concept might best be consolidated with Psalms 34:18. The album also has quiet, delicate moments, as in the case of “All I Need” which starts with a whispering violin, which together with the viola and cello remind me Angus & Julia. It is a spiritual journey where we find God’s mercy, a humble prayer, accurate for a night of communion: “Break me down into bread / Pour me out into wine / Until all that’s left, it is hardly mine / Use me up ‘til nothing’s left / Any less would be unkind / All I need is in you to find”. Don’t panic. “Mais Pour Amour” is a candid and beautiful combination of strings and violins interpreted in French and inspired by Psalm 94:18. Ginny Owens adds vocals to “You Came Pulling Through”, with touches of jazz into a hymn about perseverance and the immediate relief of God: “The only name I had to call it was you / And you came pullin’ through / In my how of desparation / You brought me pure inspiration”. I am fascinated with the variety of aspects of life that this album touches, such as in “Some Other Time (Avery’s Hymn)” where Andrew celebrates his new role as an uncle, celebrating the joy a newborn brings to home. The piano leads to perfection, while the lyric seems to be the paraphrase of Matthew 6:34 and sings: “But who knows what she’ll have to go through / What this old world can do / So Jesus hold her for dear life”. The sublime “Hymn For Living”, is mapping the deep love and great desire to be with our families, when distance intrudes into our destinies: “Had we know leaving was part of the giving / Then our hearts would ache less for the missing you”. One of the songs with more spring feeling and an organically perfection is “Gone Are The Days” that treats in an explicit and abstract way the fact of divorce, but also offers the solution. To recognize our mistakes and let the grace to take control of the relationship. The accordion, mandolin and Julie Lee’s voice adequately ambience the soul of the song: “We found each other in the wrong time and place”. Crossing the trail of country/black gospel, “Emmylou” is an ode to singer Emmylou Harris, whose voice and music were a great influence in Greer. The song shows us some lessons he learned through this inspiration. With similarities to The Elms and The Who, the dynamic “Learning To Live” talks about the triumphs and lessons of life. Also dedicated to her friend Sarah Conley, who was diagnosed with cancer. “Wait For Us” sings a sweet gospel melody, gently breathing into the following phrases: “Bring your peace in our lives / In your love conquer strife / For our hearts have suffered long / Through the tempest bring us home”. The lyrics become more personal, poignant and appropriate to face the suffering of our world (Romans 8:22-24). Childhood is the most unforgettable period of our lives, and “Remind Me” focuses on this age. A song of autumn, full of questions and sweet melodies that are complemented by the featuring of Cindy Morgan: “Should I ever forget the price that was paid past for me? / Should I ever forget this life so freely given to me? / Then I will sing our song of the reedemed / And should I ever forget? / Remind me”.

“Open Book” is a journey that explores various aspects of life from the viewpoint of a song. Andrew Greer has such a poignant melodies, like a baby first cry and this album brings all those feelings we as humans have to experience.

Andrew Greer descubrió el secreto para comunicarse con su Creador. Todo comenzó cuando decidió alejarse del ruido de la civilización e irse a las montañas a componer con un piano de más de 80 años de antigüedad. Desesperado por descubrir la verdad, decidió rendir su perpetua angustia, su pecado, entrar en una noche oscura del alma y orar por una mañana de gracia. Todos estos sentimientos y experiencias dieron a luz a “Open Book”, producido por el mismo Andrew Greer y masterizado por Matt Odmark (Jars Of Clay). La creatividad de este álbum, envuelve la mezcla de una lírica profunda, complejidad instrumental y sentimentales melodías vocales, que transporta al oyente a diferentes fases y niveles de adoración.

Un órgano apertura el álbum en “And To Our God” que nos recuerda que Dios está con nosotros aún en medio del fracaso. Inspirado en el Salmo 22:11, esta canción es la respuesta por aquellos días de debilidad: “And to our God, and to the Lamb / Who says wherever you are / There I am / And to the hope, that this King brings / Into our lives, into our days / Into everything / And to our God”. Con un sentimiento melancólico y soul/piano cautivador, “Time Has No Meaning” suena como Elton John o Greg Sczebel, reflejando el dolor que sentimos al perder a alguien amado: “And everytime I look into the sky / I wonder when I’ll earn my own wings to the other side”. El concepto podría consolidarse mejor con Salmos 34:18. El álbum también posee momentos silenciosos, delicados, como en el caso de “All I Need” que se inicia con un susurrante violín, que en conjunto a la viola y el cello me hacen recordar a Angus & Julia. Es un viaje espiritual en dónde nos encontramos con la misericordia de Dios, una oración humilde, precisa para una noche de comunión: “Break me down into bread / Pour me out into wine / Until all that’s left, it is hardly mine / Use me up ‘til nothing’s left / Any less would be unkind / All I need is in you to find”. Que no cunda el pánico. “Mais Pour Amour” es una cándida y hermosa combinación de cuerdas y violines interpretadas en francés,  inspiradas en el Salmo 94:18. Ginny Owens le añade coros a “You Came Pulling Through”, con pinceladas de jazz en un himno a la perseverancia y el socorro inmediato de Dios: “The only name I had to call it was you / And you came pullin’ through / In my how of desparation / You brought me pure inspiration”. Me fascina la diversidad de aspectos de la vida que este álbum toca, como por ejemplo en “Some Other Time (Avery’s Hymn)” dónde Andrew celebra su nuevo papel como tío, festejando la alegría que un recién nacido nos trae al hogar. Los pianos conducen a la perfección, mientras que la lírica parece ser la versión parafraseada de Mateo 6:34, y nos canta: “But who knows what she’ll have to go through / What this old world can do / So Jesus hold her for dear life”. La sublime “Hymn For Living”, traza un mapa sobre el amor profundo y el gran anhelo por estar con nuestras familias, cuando la distancia se entremete en nuestros destinos: “Had we know leaving was part of the giving / Then our hearts would ache less for the missing you”. Una de las canciones con un sentimiento más primaveral y orgánicamente perfecta es “Gone Are The Days” que trata de manera abstracta y explícita el tema del divorcio; pero también ofrece la solución. Reconocer nuestros errores y dejar que la gracia tome el control de la relación. Los acordeones, la mandolina y la voz de Julie Lee ambientan adecuadamente el alma de la canción: “We found each other in the wrong time and place”. Atravesando el sendero country/black góspel, “Emmylou” es una oda a la cantante Emmylou Harris, cuya voz y música fueron de gran influencia en Greer. La canción nos muestra algunas lecciones que aprendió gracias a esta inspiración. Con semejanzas de The Elms y The Who, la dinámica “Learning To Live” habla sobre los triunfos y enseñanzas de la vida. Dedicada además a su amiga Sarah Conley, que fue diagnosticada de cáncer. “For Us Wait” nos canta un dulce melodía góspel, que respira delicadamente en las siguientes frases: “Bring your peace in our lives / In your love conquer strife / For our hearts have suffered long / Through the tempest bring us home”. La lírica se torna personal, conmovedora y adecuada para enfrentar el sufrimiento de nuestro mundo (Romanos 8:22-24). La infancia es la más inolvidable etapa de nuestras vidas, y “Remind Me” se centra en esta edad. Una canción de otoño, llena de interrogantes y dulces melodías que se complementan con la participación de Cindy Morgan: “Should I ever forget the price that was paid past for me? / Should I ever forget this life so freely given to me? / Then I will sing our song of the reedemed / And should I ever forget? / Remind me”.

“Open Book” es un viaje que explora los diversos aspectos de la vida desde el punto de vista de una canción. Andrew Greer tiene unas melodías tan conmovedoras, como el primer llanto de un bebé, y este álbum reúne todos aquellos sentimientos que como humanos tenemos que experimentar.

24 Feb 2010

Starfield - The Saving One

Artist: Starfield
Album: The Saving One
Year: 2010
Label: Sparrow Records/EMI CMG
Website: http://www.starfieldonline.com/
Myspace: http://www.myspace.com/starfield
Twitter: @starfieldband
Buy: iTunes - Amazon - Official Store
Sounds Like: Hillsong United, Delirious?, Chris Tomlin, David Crowder Band
Rating: 4/5 ♥♥♥♥

Whenever Starfield launched an album, my expectation increases in larger scales. Whether his brilliant musical arrangements, his creative modern worship style, the harmonies or the passionate and heartfelt lyrics in each song. There’s always reason to amaze me with their work, and what a good gift for us summer with this amazing release. “The Saving One” was produced by the talented and veteran Ian Eskelin (All Star United vocalist) with each of the band members, delivering his particular signature of contemporary worship through personal confessions and songs of praise to our Savior.

The titletrack “The Saving One”, gives us a sort of modern hymn with strong guitar riffs, steady drums and a spiritual depth that preaches salvation: “No fear can hold me down / No darkness steal my joy / For blood has been poured out / The enemy destroyed / Death could not hold Him down / The cross was not enough / To steal away His throne / For He is God”. With a piano intermediate, and a desperate lyric about returning to the first love, first single “Rediscover You” is a prayer to God for us to rediscover the things of his kingdom: “I want to learn to pray / The way that David prayed / I want my soul to burn when I hear Your name / I want to feel like new / I want to hunger for You / Bring me back to life like only You can do / ‘Cause I don’t want to stay the same”. The single is already impacting AC & CHR radio formats with a large audience, and Tim Neufeld (vocals) confesses: “This song is a description of my walk with Christ, in the most honest way. I am desperate to rediscover the things of God. I long to be real and passionate. I want to learn to walk by faith, and I find incredible freedom in saying these wishes in the lyrics of this song”. With a nearly 60 second’s instrumental introduction, “Declaration Of Independence” where Tim and Jon Neufeld create voltage loads on their guitars, while Dave Lalonde explodes with the drums and James Johnson made their presence felt in every chord. Sounds like a dcTalk or Delirious? B-side. With a simple but delusional lyric: “I’ve had the revelation / This is my declaration / More of you, oh God, and less of me”. Using synthesizers and ingenious sequences, “No Other Savior” becomes a relevant worship song, extolling the attributes of Christ in an impetuous melody: “Sacrificed to death / For us, Your final breath / You died, the world to sabe / To overcome the grave”. The beautiful “Something To Say” grabs you in seconds, with the delicate piano and the eerie vocal performance from Tim in the choir, using sublime falsetto to externalize the confession of our doubt by believing in God when He seems distant and in the silence we can hear his softly voice: “I’ve got something to say / Right now it feels like You are slipping away / Like I am drowning in a crisis of faith / Like I was found, but now I’m lost in the fray”. I have not heard a song as sincere as this for a long time, honesty that strangely refreshes you. The intimate “Absolutely” transports you to an atmosphere of worship that gives our trust to God in an acoustic prayer of dependence and love: “Down upon my knees / I’m lost in worship / Humbled by Your majesty / What is there to say / But how I love You / Thank You for forgiving me”. Songs like “Overwhelm” incorporate powerful guitars, and once again an excellent vocal harmonizing: “Desperate for Your presence / I long for You alone / So dwell within me, Jesus / This temple is Your home / I am ready for this life to be consumed”. Quickly “Top Of Our Lungs” flirts with a hint dance/club/techno/glow and rock/pop interesting fusion. The message is about to declare his glory and fame throughout the earth, proclaim our redemption, our freedom: “We’re gonna shout His praise at the top of our lungs / We’re gonna dance for the glory of the risen Son / We’re not ashamed, not ashamed of the One we love / We’re gonna shout His praise at the top of our lungs”. For this we were created and it is our destiny. “Beautiful The Sound” continues exalting our God: “From the Earth, our voices will ascend / As an offering to You alone / May our praises echo without end / Join the angel choir around the throne”. Perfect components to become a radio success or to be played in a church service. The formidable and sweet “Father”, searches for identity, friendship, companionship, loyalty that only God can give us: “You are my Father / Your love will never fail me / A friend like no other / Your trusted arms will hold me / You are my Father”. Impressionable sumptuous harmonies and acoustic arrangements, we find on the acoustic version of “The Saving One” that consolidates it as a whole hymn.

These Canadians give us rewarding mix of honesty, poetic lyrics and haunting melodies with a personal perspective incorporated into worship. “The Saving One” is the right candidate for a fresh intimacy with God. These songs reveal a breach, reliance on God, and grace, the emotion is powerful, and many can easily identify with the confessions of need that these songs contain. Starfield has returned, and with great energy.


Cada vez que Starfield lanza un álbum, mi expectativa aumenta en escalas mayores. Ya sea por sus geniales arreglos musicales, su creativo estilo modern worship, las harmonías o las letras apasionadas y sinceras en cada canción. Siempre hay motivos de sobra para asombrarme con su trabajo, y qué buen regalo de verano nos han. “The Saving One” fue producido por el talentoso y veterano Ian Eskelin (vocalista además de All Star United) junto a cada uno de los miembros de la banda, entregando su firma original de adoración contemporánea a través de confesiones personales y canciones de alabanza a nuestro Salvador.

El titletrack “The Saving One”, nos regala una especia de himno moderno con sólidos riffs de guitarras, constantes tambores y una profundidad espiritual que pregona salvación: “No fear can hold me down / No darkness steal my joy / For blood has been poured out / The enemy destroyed / Death could not hold Him down / The cross was not enough / To steal away His throne / For He is God”. Con un intermedio de piano, y una letra desesperada por regresar al primer amor, el primer sencillo “Rediscover You” es una plegaria a Dios por volver a descubrir las cosas de su Reino: “I want to learn to pray / The way that David prayed / I want my soul to burn when I hear Your name / I want to feel like new / I want to hunger for You / Bring me back to life like only You can do / ‘Cause I don’t want to stay the same”. El sencillo ya está impactando las radios de formato CHR y AC con una gran audiencia, y Tim Neufeld (vocalista) nos confiesa: “Esta canción es una descripción de mi caminar con Cristo, de la manera más honesta. Me encuentro desesperado por volver a descubrir las cosas de Dios. Anhelo lo real y quiero estar apasionado. Quiero volver a aprender a caminar por fe, y encuentro increíble libertad al decir esos deseos en la letra de esta canción”. Con una introducción instrumental de casi 60 segundos, “Declaration Of Independence” en dónde Tim y Jon Neufeld crean cargas de voltaje en sus guitarras, mientras que Dave Lalonde explosiona con las batería, y James Johnson hace sentir su presencia en cada compás. Suena como un b-side de dcTalk o de Delirious?, con una lírica simple pero delirante: “I’ve had the revelation / This is my declaration / More of you, oh God, and less of me”. Empleando sintetizadores e ingeniosas secuencias, “No Other Saviour” se convierte en una relevante canción de adoración, exaltando los atributos de Cristo en una impetuosa melodía: “Sacrificed to death / For us, Your final breath / You died, the world to sabe / To overcome the grave”. La hermosa “Something To Say” te atrapa en cuestión de segundos, con aquel delicado piano, y la estremecedora performance vocal de Tim en el coro, usando sublimes falsetes para exteriorizar la confesión de nuestra duda al creer en Dios, cuando Él parece distante y en medio del silencio podemos oír suavemente su voz: “I’ve got something to say / Right now it feels like You are slipping away / Like I am drowning in a crisis of faith / Like I was found, but now I’m lost in the fray”. No he escuchado canción tan sincera como esta en mucho tiempo, honestidad que extrañamente te refresca. La íntima “Absolutely” te transporta a una atmósfera de adoración que le entrega nuestra confianza a Dios, en una oración acústica de dependencia y amor: “Down upon my knees / I’m lost in worship / Humbled by Your majesty / What is there to say / But how I love You / Thank You for forgiving me”. Canciones como “Overwhelm” incorporan potentes guitarras, y una vez más una excelente armonización vocal: “Desperate for Your presence / I long for You alone / So dwell within me, Jesus / This temple is Your home / I am ready for this life to be consumed”. Rápidamente “Top Of Our Lungs” coquetea con un ligero matiz de dance/club/techno/glow y rock/pop interesantemente fusionados. El mensaje es sobre declarar su gloria y su fama por toda la tierra, proclamar nuestra redención, nuestra libertad: “We’re gonna shout His praise at the top of our lungs / We’re gonna dance for the glory of the risen Son / We’re not ashamed, not ashamed of the One we love / We’re gonna shout His praise at the top of our lungs”. Para esto fuimos creados y es nuestro destino. “Beautiful The Sound” continúa enalteciendo a nuestro Dios: “From the Earth, our voices will ascend / As an offering to You alone / May our praises echo without end / Join the angel choir around the throne”. Componentes perfectos para convertirse en todo un éxito de radio o para ser tocada en un servicio de iglesia. La formidable y dulce “Father”, busca la identidad, la amistad, la compañía, la fidelidad que solo Dios nos puede dar: “You are my Father / Your love will never fail me / A friend like no other / Your trusted arms will hold me / You are my Father”. Impresionables arreglos acústicos y fastuosas harmonías, hallamos en la versión acústica de “The Saving One”, que la consolidan como todo un himno.

Estos canadienses nos dan gratificante mezcla de honestidad, letras poéticas y melodías cautivantes con una perspectiva personal incorporada en adoración. “The Saving One” es el candidato indicado para una fresca intimida con Dios. Estas canciones revelan quebrantamiento, dependencia de Dios, y gracia; la emoción es poderosa, y muchos fácilmente se identificaran con las confesiones de necesidad que estas canciones contienen. Starfield ha regresado, y con mucha energía.