Plugged ®

5 Feb 2011

Abandon - Control

image

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.

image

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.

7 Apr 2010

Brave Saint Saturn - Anti-Meridian

image

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.

image

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)

image

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.

image

“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

image

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.

image

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!

image

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.

image

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.

29 Mar 2010

Manafest - The Chase

image

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.

image

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

image

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.

image

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.

19 Mar 2010

Luminate - Luminate EP

image

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

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

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

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

image

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

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

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

17 Mar 2010

Meredith Andrews - As Long As It Takes

image

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

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

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

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

image

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

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

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

15 Mar 2010

New Method - Old School

image

Artist: Old School
Album: New Method
Year: 2007
Label: Avista Records
Website: http://www.newmethod.net/
Twitter: @newmethod
Buy: Official Store
Sounds Like: Weezer, Bowling For Soup, Captain Kangaroo!, dcTalk, Audio Adrenaline, Family Force 5, Switchfoot
Rating: 1/5 ♥

A few weeks ago I found the New Method’s debut album under my door, entitled “Old School”. I quickly went to my laptop to play, and I realized that the album name was really appropriate. You can find influences from Weezer, Bowling For Soup, Captain Kangaroo! to dcTalk and Audio Adrenaline. Produced by Kevan Cyka (Everlife, Mission Six, Caleb Rowden, Disney), the band was nominated for a Dove Award as “New Artist of the Year” and they’re preparing a new album that will definitely strengthen the classic roots of their sound.

In general, all the songs have a strong 90’s influence and the exhausting funk/pop/rock that offered us. “Temporary Tattoo” is accelerated with guitars in a hilarious dynamic composition that tells us: “And we played the games, we changed our names, had a beach side rendezvous / As we shrared a Coke, our love was shown on a temporary tatoo / We laughed, we’d give the fun, we lived until the day was through / Talking on the pone, our love was shown on a temporary tatoo”. With interesting touches of punk, “Yearbook” fondly remembers the school days, when innocence, dreams and aspirations was the common factor in each of us: “In my yearbook, I see curiosity / I see hopes and dreams and all that seems the way it used to be”. The distorted voice of Doug Meacham (vocals) intrudes on “Fantasy Island”, which seeks to abandon the lifestyle we have and adopt the style of life that God offers us. “Not Into That” tells the story of a girl at school that seeks to fill the void in her heart with other things: “I’ve seen the truth, it’s no mystery / You think you need something new”. Quickly, the first single “All About The Love” talks about the essence of life. Quite apart from the luxuries, money, pleasures of this life, all that remains is love: “It’s all about the L-O-V-E / What are we looking for? / It’s all about the L-O-V-E / How could there be any more?”. With the metaphor of a free fall into the love of Christ, “Freefall” draws us an intelligent proposal to share the love of God. “What’s With Heaven?” reminds us that we often have many questions in our minds, and we try to respond with fame, but the only truth is in heaven. Bass and guitars take over “More Of The Same”, singing the love of God is more than enough to satisfy our spiritual need: “I’m getting more of the same and I could never go back to the place I came from / I’m tired of playing the fame where nothing’s ever enoug, for your love is sufficient”. With acoustic guitars, “Run Away” is the difficult situation when our past and its consequences are trying to reach us, ruining our destination: “I’ve been running from me”. Finally, the second single “A Safe Distance”, begins with the sweet voice of Meacham telling people that are looking for love, they need to guard their heart. Plus, it speaks about the fact that we keep a safe distance from the love that God offers with that same fear of commitment: “Now what I want for you, what I need for me, is where I need to be / I hope I see the light where I know from wrong and right on the only road I seem to be”.

Impacting youth, reaching souls, and setting Christ-like examples are just a few of the reasons for the existence of New Method. The band has always strived to reach out with the attitude and love of Christ at their concerts and personal appearances. “We wanted this CD to be a very unique project that begins with a reflection of the past, and moves into a more mature view of true love, and how we often fight against it”, says Meacham.

image

Hace algunas semanas encontré debajo de mi puerta el disco debut de New Method, titulado “Old School”. Rápidamente fui a mi laptop a reproducirlo, y me di cuenta que el nombre del álbum era el apropiado. Puedes encontrar influencias desde Weezer, Bowling For Soup, Captain Kagaroo! hasta dcTalk y Audio Adrenaline. Producido por Kevan Cyka (Everlife, Mission Six, Caleb Rowden, Disney), la banda fue nominada a un premio Dove como “Nuevo Artista del Año” y están preparando un nuevo disco que definitivamente consolidará las raíces clásicas de su sonido.

Por lo general todas las canciones tienen una fuerte influencia noventera y el agotador funk/pop/rock que nos ofrecía. “Temporary Tatoo” se acelera con dinámicas guitarras en una hilarante composición que nos dice: “And we played the games, we changed our names, had a beach side rendezvous / As we shrared a Coke, our love was shown on a temporary tatoo / We laughed, we’d give the fun, we lived until the day was through / Talking on the pone, our love was shown on a temporary tatoo”. Con interesantes pinceladas de punk, “Yearbook” recuerda con nostalgia las épocas de escuela, cuando la inocencia, los sueños y anhelos era el factor común en cada uno de nosotros: “In my yearbook, I see curiosity / I see hopes and dreams and all that seems the way it used to be”. La distorsionada voz de Dough Meacham (vocalista) se inmiscuye en “Fantasy Island”, que busca renunciar al estilo de vida que tenemos y adoptar el estilo de vida que Dios nos ofrece. “Not Into That” nos cuenta la historia de una muchacha en la escuela que busca llenar el vacío de su corazón con otras cosas: “I’ve seen the truth, it’s no mystery / You think you need something new”. Rápidamente, el primer sencillo “All About The Love” habla sobre la esencia de la vida. Muy aparte de los lujos, el dinero, los placeres de esta vida, lo único que permanece es el amor: “It’s all about the L-O-V-E / What are we looking for? / It’s all about the L-O-V-E / How could there be any more?”. Con la metáfora de una caída libre hacia el amor de Cristo, “Freefall” nos dibuja una propuesta inteligente para compartir el amor de Dios. “What’s With Heaven?” nos recuerda que muchas veces tenemos tantas preguntas en nuestras mentes, que tratamos de responder con la fama, sin embargo la única verdad está en el cielo. Los bajos y guitarras se apoderan de “More Of The Same”,cantándonos que el amor de Dios es más que suficiente para satisfacer nuestra necesidad espiritual: “I’m getting more of the same and I could never go back to the place I came from / I’m tired of playing the fame where nothing’s ever enoug, for your love is sufficient”. Con guitarras acústicas, “Run Away” es la difícil situación cuando nuestro pasado y sus consecuencias intentan alcanzarnos, arruinando nuestro destino: “I’ve been running from me”. Finalmente, el segundo sencillo “A Safe Distance”, arranca con la dulce voz de Meacham diciéndole a la gente que busca amor, que necesitan guardar su corazón. Además, habla sobre el hecho de que mantenemos distanciados del amor que Dios ofrece, por el mismo miedo al compromiso: “Now what I want for you, what I need for me, is where I need to be / I hope I see the light where I know from wrong and right on the only road I seem to be”.

Impactar a la juventud, alcanzar almas y establecer los principios de Dios, son sólo algunos de los motivos de la existencia de New Method. La banda siempre se ha esforzado por llegar con la actitud y el amor de Cristo en sus conciertos y presentaciones. “Queríamos que este cd sea un proyecto único, que comience con una reflexión del pasado, y se mueve a visión más madura del verdadero amor, y cómo a menudo luchamos en esa búsqueda”, nos dice Meacham.