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5 Feb 2011
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Abandon - Control

Artist: Abandon
Album: Control
Year: 2011
Label: EMI CMG/Forefront
Web: http://www.abandonrock.com
Myspace: http://www.myspace.com/abandontx
Facebook: http://www.facebook.com/abandon
Twitter: @abandonrock
Sounds Like: The Killers, Coldplay, Above The Golden State, Remedy Drive, The Afters, Waking Ashland, Sanctus Real, Seabird, Delirious?, Anberlin, Acceptance, Mutemath, U2, Switchfoot
Rating: 4/5 ♥♥♥♥

This April 19th, humanity will witness a musical evolution, but above all a spiritual depth. Abandon has been characterized by adding unique elements to what is commonly called alternative rock/pop. Searchlights was about giving hope, an immediate rescue, being in the hands of Christ and do what he tells us. Controlis about losing control, asking God to take control of the situation. It’s about the beauty of not knowing (sometimes) when you will be rescued.

Control also adds fundamental ingredients such as the production of Chris Stevens (tobyMac, Carrie Underwood, Audio Adrenaline) alongside Paul Moak (Seabird, Third Day, Mat Kearney); in addition to the lyric intervention (“SOS” and “Push It Away”) of Aaron Gillespie (Underoath, The Almost) who is about to launch his solo debut.

From the first guitar riffs by Stevan Vela invading the atmosphere with “Feel It In Your Heart” (first single) to the infectious melodies that show a much more uninhibited Josh Engler (vocals). The message of the song tells us that real change happens in a person from the inside out. “There are thousands of voices, thousands of bands trying to sound louder than others, but that sound never affects their souls. It’s about being honest and havng the passion to live or die for what you believe in. It’s about not being part of the noise but tuning our hearts to heaven”, says the band. On the other side “Live It Out” opens with a question: “Is it me, or the walls are closing?”. The chorus (with a touch of The Killers and Coldplay) talks about the urgency of living according to what we speak, to choose to be part of the disease or be the cure for it. “Your Love Goes On” is evidently an AC and CHR radio favorite in. Solid acoustic guitars and pianos that are lightened with a sweet melody, clearly influenced by Tenth Avenue North and Rush Of Fools. The song speaks of a God who is always chasing his creation, even those who feel unworthy for committing many sins. “When we fall, we should run to Him, because it shows maturity as a Christian” believes Engler. The album continues with the pop/rock formula and this is how we come to “Let Go”, which resembles the sound of Waking Ashland. It tells us to rid ourselves of all those things that bind us to not advance as believers. One of my favorite songs is “New Years Day”, with an interesting piano opening that celebrates our freedom from sin: “Dark has turned to light and I will celebrate. All my wrongs made right, everything has changed. My sins have been erased and it feels like new years day”. Then, we find the shameless “Talk To Me”, painted with whistles, rhodes and guitars expressing a cry for God’s direction. Gillespie clearly left noted his influences on “Push It Away”, adding synths in a hymn that encourages believers to never be swayed by the pleasures of this world, no matter if we face ridicule or even persecution, as we noted in “Under Fire”. Another of my favorites is “Why Does It Take So Long”, which opened a series of slow songs, full of inspiration and questions that are answered in the sacrifice of Jesus on the cross. “Known” conveys the message of Romans 8:1. There’s no condemnation. Finally, “Hero” epically closes the album, charting the work of Jesus on earth, his miracles, his teachings, his death and resurrection. He was, is and will be the biggest hero of the story.

I’m sure the perfect formula that Control has, lies in its sincerity and transparency. Production has been impeccable. Each arrangement is necessary, from the guitars (Justin Engler and Stevan Vela) to the aggressive rhythms of Bryan Fowler (bass) and Dave Vela (drums). “We’re always reevaluating success for ourselves”, sums up Josh. “We don’t think there are any limits, not in a prideful sense, but with the intention of serving the Creator and wanting Him to use us to impact the world around us”.With this album you can say that Abandon is more than a Christian band that sounds like The Killers.

Este 19 de abril, la humanidad será testigo de una evolución musical, pero sobre todo de una profundidad espiritual. Abandon se ha caracterizado por agregar elementos únicos a lo que comúnmente llamamos rock/pop alternativo. Searchlights se trató de dar esperanza, de un rescate inmediato, de estar en las manos de Cristo y hacer lo que él nos diga. Control se trata de perder el control, de pedirle a Dios que tome el control de la situación. Se trata de la belleza de a veces no saber cuándo serás rescatado.

Control, también suma ingredientes fundamentales como la producción de Chris Stevens (tobyMac, Carrie Underwood, Audio Adrenaline) junto a Paul Moak (Seabird, Third Day, Mat Kearney), además de la intervención lírica (“S.O.S.” y “Push It Away”) de Aaron Gillespie(Underoath, The Almost) quién está próximo a lanzar su debut como solista.

Desde los primeros riffs de guitarra a cargo Stevan Vela invadiendo la atmósfera con “Feel It In Your Heart” (primer sencillo) hasta las contagiosas melodías que muestran a un Josh Engler (vocalista) mucho más desinhibido. El mensaje de la canción nos dice que el cambio real en una persona ocurre de adentro hacia afuera. “Hay miles de voces, miles de bandas que intentan sonar más fuerte que las otras, pero que nunca afectan sus almas. Se trata de ser honesto y tener la pasión para vivir o morir por lo que crees. Se trata de no ser parte del ruido sino de afinar nuestros corazones con el cielo”, nos dice la banda. Por otro lado “Live It Out” se apertura con una interrogante: “¿soy yo, o las paredes se están cerrando?”. El coro (con pinceladas de The Killers y Coldplay) nos habla de la urgencia de vivir conforme a lo que hablamos, de elegir ser parte de la enfermedad o ser la cura para ella. “Your Love Goes On” será evidentemente una de las preferidas en las radios AC y CHR. Guitarras acústicas y sólidos pianos que se aligeran con una dulce melodía, claramente influenciada por Tenth Avenue North y Rush Of Fools. La canción nos habla de un Dios que busca constantemente a su creación, incluso a aquellos que se siente indignos por haber cometidos tantos pecados. “Cuando caemos, deberíamos correr hacia Él, ya que eso muestra madurez como cristiano” considera Engler. El álbum continúa con la fórmula pop/rock y es así que nos topamos con “Let Go”, que se asemeja al sonido de Waking Ashland. Nos habla de despojarnos de todas aquellas cosas que nos atan a no avanzar como creyentes. Una de mis canciones preferidas es “New Years Day”, con una apertura interesante de piano que celebra nuestra libertad del pecado: “Dark has turned to light and I will celebrate. All my wrongs made right, everything has changed. My sins have been erased and it feels like new years day”. Por ahí encontramos a la desvergonzada “Talk To Me”, pintada con silbidos, rhodes y guitarras, expresan un clamor por la dirección de Dios. Gillespie claramente deja notar sus influencias en “Push It Away”, agregando sintetizadores en un himno que anima a los creyentes a nunca ser convencidos por los placeres de este mundo, no importa si enfrentamos el ridículo o incluso persecución, como podemos notar en “Under Fire”. Otra de mis preferidas es “Why Does It Take So Long”, que apertura una serie de canciones lentas, llenas de inspiración e interrogantes, que encuentran respuesta en el sacrificio de Jesús en la cruz. “Known” transmite el mensaje de Romanos 8:1. No hay condenación. Finalmente, “Hero” cierra de manera épica el álbum, graficando la obra de Jesús en la tierra, sus milagros, sus enseñanzas, su muerte y resurrección. Él fue, es y será el mayor héroe de la historia.

Estoy seguro que la fórmula perfecta que Control posee, radica en su sinceridad, en su transparencia. La producción ha quedado impecable. Cada arreglo es preciso, desde las guitarras (Stevan Vela y Justin Engler) hasta el agresivo ritmo de Bryan Fowler (bajo) y Dave Vela (batería). “Siempre estamos evaluando el éxito en nosotros”, agrega Josh. “No creo que haya límites, no en un sentido orgulloso, sino con la intención de servir al creador y querer que Él nos use para impactar el mundo que nos rodea”. Con este álbum podrás decir que Abandon es más que una banda cristiana que suena como The Killers.

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.

19 Apr 2010
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Lucas Parry - Alive

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

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

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

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

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

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

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

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.

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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Jason Eaton - One

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

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

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

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

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

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

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

1 Apr 2010
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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.