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5 Feb 2011

Abandon - Control

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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.

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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 Apr 2010

Derek Webb - Stockholm Syndrome

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

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

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

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

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

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

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

7 Apr 2010

Brave Saint Saturn - Anti-Meridian

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

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

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

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

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

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

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

5 Apr 2010

The Acclaim - The Time Is Now (EP)

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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.

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“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

Jason Eaton - One

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

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

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

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

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

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

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

2 Apr 2010

Jez - ¡Oh Corazón!

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

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

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

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

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

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

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

1 Apr 2010

eleventyseven - Adventures In Eville

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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.

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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.

29 Mar 2010

Manafest - The Chase

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Artist: Manafest
Album: The Chase
Year: 2010
Label: Manafest Productions/BEC Recordings
Website: http://www.manafest.net/
Myspace: http://www.myspace.com/manafestca
Twitter: @Manafest
Buy: iTunes - Amazon - Official Store
Sounds Like: Linkin Park, The Beastie Boys, Eminem, P.O.D, Papa Roach, Three Days Grace, EPMD, Das Efx, Thousand Foot Krutch, KJ-52, Three Days Grace, Prodigy, tobyMac
Rating: 4/5 ♥♥♥♥

There are just a few Christian artists that have managed to succeed even in Japan. I just remember Krystal Meyers and Until June, so apparently, the Japanese know how to choose their idols. Manafest presents his fourth studio record entitled “The Chase” with an aggressive sound and a lyrical-musical evolution that energize the potential of Chris Greenwood. Joining forces with BEC Recordings, the album was produced by Adam Messinger (Chris Brown, Brandy, New Kids On The Block, Justin Bieber, The Cab) and provides us scratchy guitars, aggressive rhymes merged into rock and rap.

The album begins with the first single “No Plan B” with the participation Koie of Crossfaith that adds some depth to the song with an overwhelming cry that says: “And I know that this road is my destiny / I’ve got to stick to the plan / Cause there’s no plan B”. The savage “Fire In The Kitchen” features a bold Trevor McNevan with powerful guitars and drums with strong similarities to Green Day. While “Supernatural” is painted with features from P.O.D. adding solid violins and a sticky choir that talks about the power of God to save, and how He showed us the light when we were blind in our sins. “Every Time You Run” give us an inspiring message through the story of someone who had been running for a long time with its own forces, but eventually discovered that the only answer is Christ. Trevor expressed his most passionate vocal performance on this track, as we heard in songs such as “Forward Motion” and is rumored to be the third single released in CHR/ROCK formats. Moreover, “Bring The Ruckus” has a very particular attitude to musical influences from The Beastie Boys and Linkin Park. The second single, “Avalanche” features a driving dance/pop rhythm and has a shameless lyrical that cries for help amid the storm: ”Hey, cuz I’m the prodigal man of this avalanche / I’m going down, I’m going down down / Hey and if you turn me in, I’ll confess my sins / I’m going down, I’m going down down / before I’m six feet deep, I’m washing my hands clean / Just get me out of this avalanche”. The hilarious “Married In Vegas” has a very dynamic melody and some interesting riffs. Perhaps one of the weakest tracks of the album and voids, but is something I have repeated more than 3 times in one afternoon. “Renegade” once again shows the incredible chemistry between McNevan and Greenwood, the guitar work is devastatingly pleasant. We arrived to the titletrack “The Chase” that hypnotizes us with that upbeat rhythm and those touches of violin in the choir. “Better Cause Of You” and “Breaking Down The Walls” introduces us to Dustin Antsey (producer and bassist from the band Mindsight) in two master outcomes for the album. It is noteworthy that the Deluxe Edition of the album features 3 bonus tracks: “No Plan B (Feat. Koie from Crossfaith)” in a fierce alternate version which adds a new verse by Koie of Crossfaith, and finally the remix version of this song and the radio hit “Impossible” mixed by Kubiks.

“The Chase” adds many rock features to rap, with a more mature sound that shows that this boy is still chasing his dreams in the midst of the struggles of everyday life. “On this album I really worked hard at connecting my music with the emotions of people. I’ve learned to take real life experiences and have tried to create songs that paint realistic and common themes of people. I want the listener to feel like it’s them in the song” shares Grenwood.

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Son muy pocos artistas cristianos que han logrado tener éxito incluso en Japón. Solo recuerdo a Krystal Meyers y Until June y al parecer, los japoneses saben elegir a sus ídolos. Manafest nos presenta su cuarto proyecto de estudio titulado “The Chase”, con un sonido agresivo y una evolución lírica-musical que vigorizan el potencial de Chris Greenwood. Uniendo fuerzas con BEC Recordings, el disco fue producido por Adam Messinger (Chris Brown, Brandy, New Kids On The Block, Justin Bieber, The Cab) y nos ofrece rasposas guitarras, rimas agresivas fusionadas en rock y rap.

El álbum se inicia con el primer sencillo “No Plan B”, con la participación de Koie de Crossfaith que agrega cierta profundidad a la canción con un arrasador grito que declara: “And I know that this road is my destiny / I’ve got to stick to the plan / Cause there’s no plan B”.  La salvaje “Fire In The Kitchen” muestra a un atrevido Trevor McNevan junto a los potentes tambores guitarras con fuertes semejanzas a Green Day. Mientras que “Supernatural” se pinta con rasgos de P.O.D. agregando sólidos violines y un pegajoso coro que habla sobre el poder de Dios para salvar, y de cómo Él nos mostró la luz cuando estábamos ciegos en nuestros pecados. “Every Time You Run” nos dan un mensaje inspirador, a través de la historia de alguien que había estado corriendo durante mucho tiempo con sus propias fuerzas, pero que finalmente descubrió que la única respuesta es Cristo. Trevor expresa su performance vocal más apasiona en este track, tal y cómo lo oímos en canciones como “Forward Motion” y se rumoreo que será el tercer sencillo lanzando en formatos CHR/ROCK. Por otro lado, “Bring The Ruckus” tiene una actitud musical muy particular con influencias de The Beastie Boys y Linkin Park. El segundo sencillo del álbum, “Avalanche” cuenta con un contagioso ritmo dance/pop y tiene una desvergonzada lírica que pide ayuda a gritos en medio de la tormenta: ”Hey, cuz I’m the prodigal man of this avalanche / I’m going down, I’m going down down / Hey and if you turn me in, I’ll confess my sins / I’m going down, I’m going down down / before I’m six feet deep, I’m washing my hands clean / Just get me out of this avalanche”. La hilarante “Married In Vegas” tiene una muy dinámica melodía y algunos riffs interesantes.  Tal vez sea uno de los tracks más flojos y vacíos del álbum, pero tiene algo que me ha hecho repetirlo más de 3 veces en una sola tarde. “Renegade” nos demuestra una vez más  la increíble química entre McNevan y Greenwood, el trabajo de las guitarras es devastadoramente agradable. Llegamos al titletrack “The Chase”, que nos hipnotiza con aquel impulsador ritmo y esas pinceladas de violines en el coro. “Better Cause Of You” y “Breaking Down The Walls” nos introduce a Dustin Antsey (productor y bajista de la banda Mindsight) en dos magistrales desenlaces para el álbum. Cabe mencionar que la Deluxe Edition del álbum cuenta con 3 bonus tracks: “No Plan B (Feat. Koie from Crossfaith)” en una feroz versión alterna que agrega una nueva estrofa a cargo de Koie de Crossfaith, y por último la versión remix de esta misma canción y del éxito de radio Impossible mezcladas por Kubiks.

“The Chase” agrega muchos elementos rockeros al rap, con un sonido mucho más maduro que nos demuestra que este muchacho sigue persiguiendo sus sueños en medio de las luchas del día a día. “En este álbum he trabajado en conectar mi música con los sentimientos del gente. He aprendido a tomar experiencias de la vida real y crear canciones que pinten los temas realistas y comunes de las personas. Quiero que el oyente se siente como si estuviera en la canción” nos comparte Grenwood.

25 Mar 2010

Demon Hunter - The World Is A Thorn

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Artist: Demon Hunter
Album: The World Is A Thorn
Year: 2010
Label: Solid State Records
Website: http://www.demonhunter.net/main.php
Myspace: http://www.myspace.com/demonhunter
Twitter: @demonhunterband
Buy: iTunes - Amazon - Official Store
Sounds Like: All That Remains, Trivium, Chimaira, The Ascendicate, Soilwork, Duran Duran, August Burns Red, Job For A Cowboy, Miseration, Throwdown, Living Sacrifice, Soul Embraced, Mushroomhead, The Showdown, Lamb Of Gods, Sepultura, The More Things Change, Machine Head, Pantera, Slayer
Rating: 5/5 ♥♥♥♥♥

The sound of Jesus leading his flock to a musical path that was built on the foundation of hedonism and power. Demon Hunter is well defined as their fifth album “The World Is A Thorn” merging its aggressive metalcore and nu-metal with catchy melodic pop. Produced by veteran Aaron Sprinkle (Fair, Acceptance, Anberlin, The Almost) and mixed by Jason Suecof (All That Remains, Chimaira, August Burns Red, Trivium), vocalist Ryan Clark explains: “The album title refers to often detrimental and destructive world in which we live. Most songs are about the current state of the nation and the world itself. In particular, the lyrics point to the ideals of a nation without God and the depletion of our morals and values”.

A harmonic guitar preludes by the new member Ryan Helm takes off “Descending Upon Us” with a chaotic and aggressive cry that denounces idolatry: “Save your plea for the day that we suffer the wake of this treason / Rain like fire descending upon us in holy resolve, upon this ground”. Synchronously, “Lifewar” adds a tremendous blunder to the disc, with too parametric drums bursts of screams that make you remember the mediocre nu-metal time of 2000’s and bands like American Head Charge. Fortunately, the track does not last long and opens up the album’s first single “Collapsing” which has the appearance of Björn “Speed” Strid of Soilwork in a lyric that offers hope to anyone struggling with the death (1 John 2:10), also starring a delightful guitar solo, an introduction of synthesizers that passed during the rest of the song: “I see the weight of hollow death residing in you / Take now your final breath, exhale the truth / I see the fear of nothing left, dead fragments of youth / You hold it in yourself, I feel it too”. Continuing the theme of spiritual warfare, “This Is The Line” draws us the metaphor to be strong in our faith and to prevail against the powers that threaten God’s standpoint and our viewpoint towards our relation to the world (Isaiah 30:17). Drizzle of hardcore and black metal with a dark tone yells the following lines: “This is a battle. We Are The Blade / And this is the line, this is the line / All that they build we will break. This is the line”. Delivering some balance to the disc, through orchestral violins and one of Clark’s best performance, we find “Driving Nails” a passionate ballad about restored hope of our sinful nature (Romans 7:25): “It’s driving nails into my soul and angels from my door / Driving nails into my soul. Something else inside”. The titletrack “The World Is A Thorn” is about the things we are not, and those that we refuse to be, because our faith is lay in Christ alone (1 Chronicles 16:25-26), with Yogi Watts’s brutal drums and Clark’s disturbed grunts: “Won’t bow to man. Won’t bow to government / Won’t trust in a failed system of self-fulfilling lust / Won’t love a world where my God is mocked. I defy”. The desperate and distraught “Tie This Around Your Neck” compares the false promises of the world with a rope tied on our necks by the world and its pleasures (Psalm 107:42), with traces of Sepultura, The More Things Change, Machine Head and sparkling melodies: “Save your breath, my son, just carry on home / Time will prey on you, and take you through hell”. Encouraging us to proceed even though the suffering continues driving us down (Psalm 10:17), “Just Breathe” features the participation of Christian Älvestam of Miseration (ex-Scar Symmetry) and some synths that complement the versatility and talent of this duet. Provocateurs metal drums in “Shallow Weater” sleepwalking defy those prone to God’s call to recognize that they will reap all the seeds we have sown (Matthew 7:26). The sacrifices we make as Christians are not seen as oppression but as a means to make our life more fruitful and useful. Dave Peters of Throwdown joins “As Thought You Could Feel” that describes the self-lie as a road to perdition (John 2:21). Some prefer an aggressive denouement, others as in my case, opted for songs like “Blood In The Tears” with Driving Nails influences, reflecting our occasional longing for a physical sign of the existence of God and His will in our lives. Also ask God that the tears of their enemies become drops of blood, to produce an attitude of reverence in those who haven’t believed and that these tears are used as a path through Christ (2 Chronicles 32:24). On the other hand we find the first bonus track, “Desire The Pain” with spiritual and controversial metaphors about divorce “I desire the pain. I desire the weight / And I will face my grave / I desire remorse. I desire release / And I will chase this away”. Finally the String Mix of “Driving Nails” consolidates this hymn in an epic and successful way.

One of the most representative bands of Solid State Records and the Christian metal market has surprised us this year with hints that we might never expect. “The World Is A Thorn” is clearly a progression of the new sound of the band, their evolution and the perfect test that they remain being the highest pillars of the genre.

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El sonido de Jesús conduciendo a su rebaño por un camino musical que fue construido sobre los cimientos del hedonismo y el poder. Es así como Demon Hunter define su quinto álbum “The World Is A Thorn”, fusionando su agresivo metalcore y nu-metal con pegajoso pop melódico. Producido por el veterano Aaron Sprinkle (Fair, Acceptance, Anberlin, The Almost) y mezclado por Jason Suecof (All That Remains, Chimaira, August Burns Red, Trivium), el vocalista Ryan Clark nos explica: “El título del álbum se refiere al a menudo perjudicial y destructivo mundo en que vivimos. La mayoría de las canciones tratan sobre el estado actual de la nación y del mundo en sí. En particular, las letras apuntan a los ideales de un pueblo sin Dios y el agotamiento de nuestra moral y valores”.

Un preludio de guitarras harmónicas a cargo del nuevo integrante Ryan Helm se despega con “Descending Upon Us”, con un caótico y agresivo grito que denuncia la idolatría: “Save your plea for the day that we suffer the wake of this treason / Rain like fire descending upon us in holy resolve, upon this ground”. Sincronizadamente, “Lifewar” agrega un tremendo desacierto al disco, con tambores demasiado paramétricos, ráfagas de gritos que te hacen recordar la mediocre época del nu-metal por el año 2000 y bandas como American Head Charge. Por suerte, el track no dura mucho y abre paso al primer sencillo del álbum “Collapsing” que cuenta con la aparición de Björn “Speed” Strid de Soilwork en una lírica que ofrece esperanza a alguien que lucha con la muerte (1ª de Juan 2:10), además protagonizando un deleitoso solo de guitarra, una introducción de sintetizadores que repercutan durante el resto de la canción: “I see the weight of hollow death residing in you / Take now your final breath, exhale the truth / I see the fear of nothing left, dead fragments of youth / You hold it in yourself, I feel it too”. Continuando con la temática de guerra espiritual, “This Is The Line” nos dibuja la metáfora de ser fuertes en nuestra fe y prevalecer ante los poderes que ponen en peligro el punto de vista de Dios y el nuestro con respecto al mundo (Isaías 30:17). Garúas de hardcore y black metal que con un tono oscuro nos grita las siguientes líneas: “This is a battle. We Are The Blade / And this is the line, this is the line / All that they build we will break. This is the line”. Entregando algo de equilibrio al disco, mediante orquestales violines y uno de las mejores performance de Clark, nos encontramos con “Driving Nails” una apasionad balada sobre la esperanza restauradora de nuestra naturaleza pecaminosa (Romanos 7:25): “It’s driving nails into my soul and angels from my door / Driving nails into my soul. Something else inside”. El titletrack “The World Is A Thorn” se trata de las cosas que no somos, y aquellas que nos rehusamos a ser, ya que nuestra fe descansa solamente en Cristo (1ª Crónicas 16:25-26), con los brutales tambores de Yogi Watts y los perturbados gruñidos de Clark: “Won’t bow to man. Won’t bow to government / Won’t trust in a failed system of self-fulfilling lust / Won’t love a world where my God is mocked. I defy”. La desesperada y angustiada “Tie This Around Your Neck” compara las falsas promesas del mundo con una soga atada a nuestros cuellos por el mundo y sus placeres (Salmos 107:42), con rasgos de Sepultura, The More Things Change, Machine Head y chispeantes melodías: “Save your breath, my son, just carry on home / Time will prey on you, and take you through hell”. Alentándonos a seguir adelante aunque el sufrimiento nos siga abatiendo (Salmos 10:17), “Just Breathe” cuenta con la participación de Christian Älvestam de Miseration (ex-Scar Symmetry) y de algunos sintetizadores que se complementan con la versatilidad y talento de este dueto. Los provocadores tambores metal en “Shallow Weater”, desafían aquellos propensos sonámbulos al llamado de Dios reconociendo que ellos cosecharán todas las semillas que hemos sembrado (Mateo 7:26). Los sacrificios que hacemos como cristianos nos son vistos como opresión, sino como un medio para que nuestra vida sea más fructífera y útil. Dave Peters de Throwdown se suma a “Feel As Throught You Could” que describe el engañarnos a nosotros mismos como un camino a la perdición (Juan 2:21). Algunos prefieres un desenlace agresivo, otros como en mi caso, optamos por canciones como “Blood In The Tears” con influencias de Driving Nails, que refleja nuestro esporádico anhelo por una señal física sobre la existencia de Dios y de su voluntad en nuestras vidas. Además le pide a Dios que las lágrimas de sus enemigos se conviertan en gotas de sangre, para producir una actitud reverente en aquellos que no han creído y que estas lágrimas sean utilizadas como un sendero hacia Cristo (2ª Crónicas 32:24). Por otro lado nos encontramos con el primer bonus track, “Desire The Pain” con metáforas espirituales y controversiales sobre el divorcio “I desire the pain. I desire the weight / And I will face my grave / I desire remorse. I desire release / And I will chase this away”. Por último la versión en violines de “Driving Nails (String Mix)” consolida este himno de una manera épica y acertada.

Una de las bandas más representativas de Solid State Records y del metal cristiano, nos ha sorprendido este año con matices que tal vez nunca esperábamos. “The World Is A Thorn” claramente es una progresión del nuevo sonido de la banda, su evolución y la prueba perfecta de que continúan siendo los supremos pilares del género.

21 Mar 2010

The Waiting Kind - In The Land Of Hope

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Artist: The Waiting Kind
Album: In The Land Of Hope
Year: 2009
Label: The Waiting Kind
Website: http://thewaitingkind.com/
Myspace: http://www.myspace.com/thewaitingkind
Twitter: @thewaitingkind
Buy: iTunes - Amazon - Official Store
Sounds Like: Leeland, Coldplay, U2, David Crowder Band, Hillsong United, Athlete, Jimmy Eat World, Ascend The Hill, The Red Airplanes, The Glorious Unseen, Starfield, Telecast
Rating: 4/5 ♥♥♥♥♥

Three friends of mine and me are starting a pop/rock band, but we’ve decided to begin in the Christian field. The reason is because we see the need to give more freshness to our worship songs at a Sunday service. In pursuit of this ingredient, I met The Waiting Kind and his single “For The World” included on their debut album entitled “In The Land Of Hop”. With a taste of indie rock with British rock influences from bands like Leeland, Coldplay, U2, David Crowder Band, Hillsong United, Athlete, Jimmy Eat World. The purpose of the band is to see young, old, broken, restored and touched by the presence of God through their music. They believe in the power of ‘waiting’ in the moment when our brokenness finds God’s redemption, the fact that He hears and responds our voice.

Unexpectedly, the album begins something soft, but positively enjoyable. “Hope Arise” talks about the faithfulness of God, and that even within the valley of sadness, our life will still belong to him: “Still I waiting for your victory / Still you found me in my valley / You are faithful”. Powerful guitars on “Resound” give praise to God and His unfailing love and grace. “I See Love” is driven with a roaring organ and drums by Dustin La Mont, while Derek Henbest (vocals/guitar) tells us that in times of need, the love of God was on his way to come and rescue him. Unraveling the Mystery of God’s majesty, “Over and Over” sings: “Over and over we sing / How wonderful you are / Crownd in Majesty / How marvelous your love pour out for us”. The blaring guitars by Britt Belden and Dave Goetter alongside with Dustin La Mont’s accurate drums merge in the upbeat “Sing, Shout, Dance”, a creation anthem that celebrates and proclaims to the nations the name of our Redeemer. Likewise, “Redemption Song” raises worship with acoustic guitars, pianos and a sweet melody with open arms to receive God’s salvation. The inspiring “Innocent Blood” reminds us of the divine work of Jesus on earth, how that sacrifice has given us freedom. A shrill guitar riff grabs in “Highest Of Heights” and talks about the vastness of our God, the immeasurable extent of his mercy. We reached the first single from the album, “For The World”, with progressive guitars and shrewd drums that strongly declare to the world the grace and love of Christ. The dynamism of the bridge rises with the decibel level and the voices of a crowd that is passionate about proclaiming the name of Jesus. “In Wonder” is melodically similar to “Healer” by Mike Guglielmucci, but his lyrics paint the wonders of God’s creation, his work in our lives and how we are amazed to be in his presence and enjoy his holiness. The piano on “Come” plunge us into an atmosphere of intimate worship with a sublime melody and a lyric that whispers the mercy, justice and love of God. That whisper is then transformed into a deep cry desperately seeking God. Just a few violins are missing to complement the perfection of this wonderful song.

“We pray that this is a sound that not only reflects our love for our Savior has done, but a sound that captivates the heart of him who loved us first”. The band has built its mission in Isaiah 40:31, and this beautiful collection of songs of praise that immediately touch the heart of God. Don’t miss the opportunity to hear The Waiting Kind.

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Un grupo de amigos y yo estamos iniciando una banda de pop/rock, pero hemos decidido empezar en el ámbito cristiano. El motivo es porque vemos la necesidad de darle más frescura a nuestras canciones de adoración en un servicio dominical. En búsqueda de este ingrediente, conocí a The Waiting Kind y su sencillo “For The World” incluido en su álbum debut titulado “In The Land Of Hope”. Con un sabor a indie rock, influencias de rock británico y de bandas como Leeland, Coldplay, U2, David Crowder Band, Hillsong United, Athlete y Jimmy Eat World. El propósito de la banda es ver a la gente joven, anciana, quebrantada, restaurada y tocada por la presencia de Dios con su música. Ellos creen en el poder de “esperar”, en el momento en que nuestro quebrantamiento se encuentra con la redención de Dios, que Él oye y responde a nuestra voz.

Inesperadamente el álbum comienza algo suave, pero positivamente agradable. “Hope Arise” habla sobre la fidelidad de Dios, y que aun dentro del valle de tristeza, nuestra vida le sigue perteneciendo a Él: “Still I waiting for your victory / Still you found me in my valley / You are faithful”. Las potentes guitarras en “Resound” le dan alabanza a Dios y a su indefectible amor y gracia. “I See Love” se impulsa con órganos y la rugiente batería de Dustin La Mont, mientras que Derekn Henbest (vocalista/guitarras) nos cuenta que en los tiempos de necesidad, vio el amor de Dios venir por su camino y rescatarlo. Descubriendo el misterio de la majestad de Dios, “Over And Over” nos canta: “Over and over we sing / How wonderful you are / Crownd in Majesty / How marvelous your love pour out for us”. Las resonantes guitarras de Dave Goetter y Britt Belden junto a  los certeros tambores de Dustin LaMont se fusionan en la impulsadora “Sing, Shout, Dance”, un himno de la creación que celebra y proclama a las naciones el nombre de nuestro Redentor. Del mismo modo “Redemption Song” eleva adoración con guitarras acústicas, pianos y una dulce melodía que con brazos abiertos reciba la salvación de Dios. La inspiradora “Innocent Blood” nos recuerda la obra divina de Jesús en la tierra, de cómo aquel sacrificio nos dio libertad. Un chillante riff de guitarra se arrebata en “Highest Of Heights”, y nos habla sobre la inmensidad de nuestro de Dios, la inmensurable dimensión de su misericordia. Llegamos al primer sencillo del álbum “For The World”, con progresivas guitarras y sagaces tambores que declaran fuertemente al universo la gracia y el amor de Cristo. El dinamismo del puente se eleva con los decibeles y las voces de una multitud que está apasionada por proclamar el nombre de Jesús. “In Wonder” se asemeja melódicamente a “Healer” de Mike Guglielmucci, pero su lírica pinta las maravillas de la creación de Dios, sus obras en nuestras vidas y lo asombrados que estamos al estar en su presencia y disfrutar de su santidad. Los pianos en “Come” nos sumergen a una atmósfera de íntima adoración, con una sublime melodía y una letra que nos susurra la misericordia, la justicia, el amor de Dios. Ese susurro luego se transforma en un clamor profundo que desesperadamente busca a Dios. Solo faltaban unos violines para complementar la perfección de esta maravillosa canción.

“Oramos porque este sea un sonido que no sólo refleje nuestro amor por lo que nuestro Salvador ha hecho, sino un sonido que cautive el corazón de aquel que nos amó primero”. La banda ha cimentado su misión en Isaiah 40:31, y esta hermosa selección de canciones de alabanza que tocan en instantes el corazón de Dios. No puedes dejar pasar la oportunidad de oír a The Waiting Kind.