ART OF ANARCHY "The Madness"

(c) 2017 Century Media Records

1. Echo Of A Scream
2. 1000 Degrees
3. No Surrender
4. The Madness
5. Won't Let You Down
6. Changed Man
7. A Light In Me
8. Somber
9. Dancing With The Devil
10. Afterburn

Scott Stapp--Lead Vocals

Ron "Bumblefoot" Thal--Lead & Rhythm Guitars

John Votta--Lead & Rhythm Guitars

John Moyer--Bass

Vince Votta--Drums

"Super Group" is an odd tag to put on an act, especially these days.  So many artists are in multiple bands, so the label doesn't seem to mean as much now as it did in the 70s and 80s, especially.  But when you look at the combination of players in Art Of Anarchy, it seems somewhat appropriate to apply the tag.  I mean, you have Ron "Bumblefoot" Thal, who has been a member of Guns N Roses, and is a well-known, accomplished guitar player in his own right.  Then you have John Moyer, the bass player for the band Disturbed.  And...well, does Scott Stapp really need an introduction, having been the lead singer of Creed, easily one of the biggest...and most reviled...bands of the post-grunge 2000s?  Now, if you are like me, you have no idea who the Votta brothers are...no disrespect intended at all...but still, that line-up probably deserves the "super group" moniker, especially when you learn that Stapp is, in fact, replacing another huge name, in the late Scott Weiland of Stone Temple Pilots fame.  So, yeah...I think I'll go with super group...

When I mention Art Of Anarchy to some of my music-loving friends, the first thing that many ask is, "cool, but do they sound like Creed?"  Even today, years and years after that band exploded across radios and televisions across the world, it is amazing to me the two polar opposite responses Creed receives.  Much like Nickelback today, they are either loved or loathed, with virtually no middle ground, and it seems a large (disproportionate?) amount of the hate is reserved for Stapp.  His struggles with substance abuse and mental health issues have been widely discussed on the internet, and Stapp addressed them himself in his book, Sinner's Creed.  Many people are unaware that Stapp has released two solo records, largely directed...and well-received...by the Christian rock market, and that while his vocals are unmistakable, those records don't particularly sound like Creed.  The same should be said about Art Of Anarchy, for while there is no missing Stapp's vocals, the songwriting here is not Creed-esque, for the most part, and is overall much harder-hitting than the majority of Creed's material, especially the singles.  For that matter, The Madness doesn't sound like Disturbed or Guns N Roses, either.  Nor does it really sound like the first Art Of Anarchy record, which was okay, but not spectacular.  

The Madness is a powerful hard rock album with excellent songwriting and top notch musicianship that is more than enough to allow the record to stand on its own.  The guitars are crisp and edgy, and the sound is exceptionally full, with seemingly no wasted space between notes on the songs here.  Lyrically, Stapp is on top of his game throughout the record, with some of his best writing to date, as he uses his personal life as fodder for many of the songs here, sometimes in obvious ways and, at other times, in far more subtle ways.  The entirety of the lead single, "The Madness" is obviously written about Stapp's struggles, with a chorus of:

"The other side of fear is freedom, the other side of pain is healing,
The Madness keeps me from the other side.
The truth, the lie, the shame the glory,
The love, the hate, an endless story,
The madness or the other side."

He also interjects his faith into songs throughout the record without beating the listener over the head with it.  Take for example the song "A Light In Me", where Stapp sings:

"The shadows...turning day into night...,
Where is the light?
The shadows...stay to remind me that there is...
There's a light in me!
There's a light in me!"

...or the powerful chorus of the high octane rocker, "No Surrender":

"No way out...hit the flatline,
We get up, no surrender,
It's your time...grab the lifeline,
We get up no surrender...No Surrender.
Time has stopped,
Time to choose,
This could be the end of you,
This could be the end of you."

If forced to pick favorites from the record, the first half of the record is absolutely stellar, with not a single bad song among the first four.  The previously mentioned "The Madness" and "No Surrender" are my two favorites from the record, but the scorching anthem that is"1000 Degrees", and arena shaking "Echo Of A Scream" are right there neck-and-neck as both are hard-hitters.  For those seeking a softer moment, the power ballad, "Changed Man" is absolutely on point, with Stapp baring his emotions an his soul to the listener in what many would say is the the most Creed-like moment of the record, even though I think it sounds more like Stapp's solo material than Creed.

(Alternate, interior cover)

Speaking of Stapp's solo material, the one song I really don't care for here is "Somber", which I believe is a track that he brought to the group from his shelved solo record from about 8 years ago.  The song matches its title, and to be honest, its kind of a downer...something of a mood-killer for an otherwise excellent record.  It doesn't destroy the record, and I don't necessarily skip it...at least all the time...but it definitely doesn't match the power and quality of the other nine tracks here.  Fortunately, the band rights the ship on the last two songs, as both the sassy "Dancing With The Devil" and the scorching "Afterburn", another soul-baring moment for Stapp.

The packaging is solid, as is usually the case with Century Media, with a full booklet complete with photos and lyrics, as well as a cool tri-fold case which features some pretty awesome artwork.  In fact, I prefer the interior, alternate cover to the one that is packaged as the exterior.  Perhaps this is so that people who are fans of the spiritual side of Stapp won't be turned off, and hey, in today's music market, bands can't afford to turn away a single purchaser.

Is there anything here that would deter fans?  In my opinion, no, unless the interior artwork is troublesome for people, which I find unlikely, as it is merely a representation of our own inner struggles...as well as the world's struggles...with good and evil.  As I showed with some lyrical examples above, Stapp is very insightful, very honest, very open, and very spiritual in many places on the record.  Several Christian/positive rock radio stations have latched onto the title track and the big ballad, "Changed Man", and I could see two or three others finding their way into radio rotation on these same stations.  I have no issues sharing this record with my children or my friends of faith, and see no reason anyone would be deterred from picking up The Madness if they enjoy this style of modern hard rock with some big melodic moments.

Thus far, Art Of Anarchy would likely be my surprise album of 2017, and it has managed to stay in my CD player for the better part of the summer.  It would have to be an amazing Fall and Winter full of killer albums to knock The Madness from the Top 5 albums of the year for me.  It is that good.  Hopefully, this is not the last we will hear from this amazing melodic, hard rocking "super group".

Rating:  9.5/10

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GUARDIAN "Fire And Love"

(c) 1990 Pakaderm Records, Word/Epic

1. Power Of Love
2. Send A Message
3. Time Stands Still
4. Forever And A Day
5. Takin' On The World
6. Fire And Love
7. Turnaround
8. Time And Time Again
9. The Rain
10. Never Say Goodbye

Jamie Rowe--Lead Vocals

Tony Palacios--Lead Guitar, background vocals

David Bach--Bass, background vocals

Karl Ney--Drums, background vocals

While I realize that no band will ever top Stryper in the minds of fans as far as who the biggest of the Christian hair metal acts was.  But if Stryper is number one, it would be hard to put anyone above Guardian for the number two slot.  It would be even harder to find another Christian band from that era that had more potential for radio crossover than Guardian...or an album more equal to that task than Fire And Love.  Yet, as with so many great bands and great albums from that era, things just didn't work out like they should have.

Guardian had already been around for a few years prior to this record.  However, following a change in lead vocalists which saw Rowe leave his previous band, Tempest, Guardian exploded with what I consider to be one of the top Christian hair metal albums of all time, if not the best.  From the very first note it is obvious this is a different, more powerful band with far more mainstream appeal in sound than the band had been with Paul Cawley behind the microphone.  Add in the slick, stylistic production skills of John and Dino Elefante, and this album just pulses with energy and charisma that is not found on other Christian releases of the time.

Do not mistake the crossover potential of this album for a lack of faith-based lyrics or generic, watered-down messages.  That is not the case.  Guardian were never "Bible-thumpers" in their music, but they also do not shy away from mentions of God, Christ, Heaven, or other Biblical themes; they merely incorporate those themes into lyrics that do not intimidate the listener or give them a feeling of "turn or burn", much the same as Stryper manages to do on their albums.

Standout tracks from this excellent release include the title cut, which includes a rocking chorus complete with a layered, almost church-choir background vocal sound, albeit done in a very rocking fashion, the rocking "Time And Time Again", and big-time ballads "Time Stands Still" and "Never Say Goodbye", either of which could have found their way onto MTV or rock radio at the time. 

Lead guitar player Palacios is incredibly gifted and as equally underrated as far as his skills go, probably because the talent of so many non-Stryper Christian bands went largely unnoticed at this time.  Rowe reportedly auditioned for/was offered the lead vocalist slot in Ratt once Stephen Pearcey left the band, but I am not 100% sure how that story shakes out, although I think he would have done a solid, if not clone-like job fronting that legendary band.  Jamie's raspy, bluesy delivery style is one of the high points of the Guardian sound for me, and even on later, less melodic/hair metal releases, it is still the one thing that pulls me back to what I consider sub-par material.  The rhythm section of Ney and Bach is every bit up to the task on these tracks, providing a solid backbone for the rest of the Fire And Love beast to be built upon. 

This is just an excellent, well-executed, well-written album full of huge guitar hooks, bluesy-yet-pop metal riffs, and powerful vocals.  There is very little, if anything, to dislike about this album, and it is one that I always recommend to my friends or to people who contact me looking for "some great hair metal I haven't already heard".  That statement alone is a sad one, as there is no reason that people have not already heard Guardian and especially this album and the one that would follow, Miracle Mile.

Rating:  9/10

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FAITH NATION "Faith Nation"

(c) 1997 Nightworks Records

1. When God Came Down
2. We Shall Stand
3. Then Love Came In
4. Book Of Life
5. The Raven And The Dove
6. Eternally
7. Grace Me
8. All That I Am
9. Give Me More

Huey Peterson--Guitars
Chris Gilbertson--Vocals
Rick Helm--Keyboards
Matt McClay--Bass
Dan Roussin--Drums

Okay, be honest.  Who knew that Faith Nation had a CD out BEFORE their Oridnary People release from 1999?  Not this guy.  In fact, I stumbled across this one totally by accident and picked it up on a whim, wondering if it was, in fact, the same band.  The answer to that question is yes....and no.

I say no because other than lead guitarist and main songwriter Huey Peterson, and bass player Matt McClay, there are NO members on both albums.  However, I also say yes because there is no mistaking the style and sound between the two albums.  It's not like the two remaining members totally morphed their sound and became a different band between albums.

One thing that always makes me nervous is when I look at the band line-up, see five members, but only ONE guitar player.  That, to me, screams keyboards are gonna be very prominent on this album.  Not surprisingly, that is definitely the case here.  On this self-titled album, things start off very promisingly with the rocking "When God Came Down" that, while incorporating a good dose of keys, still manages to keep the guitars out front for the most part and utilizes a solid, if short, guitar solo.  This song is a very nice hard AOR track with some great vocals and an excellent message about God coming to Earth in the form of Christ.    Very promising start.

Sadly, at least for me, things don't stay the course.  "We Shall Stand" gets very keyboard-laden and almost wanders out of rock territory and into pure CCM territory.  One cool thing about this song, however, is the way Peterson's solo weaves the classic Christmas carol "The Little Drummer Boy" into what turns out to be a nearly full minute long outro that also incorporates some of the words from "Amazing Grace".  All in all, its a pretty cool song, just not overly hard rocking by any stretch.

"Then Love Came In" is the only true ballad on the album, but other songs such as "Eternally" and "All That I Am" are both decidedly much slower in tempo than the album requires, as it is rarely out of mid-tempo territory.  A couple more real good hard rocking tunes would have served this disc well, but sadly after the opening track, the only real rockers are "Book Of Life" and "Grace Me", both of which remind me of Volz-era Petra for some reason.  "The Raven And The Dove", oddly, sounds more akin to early Schlitt-era Petra, at least in the arrangement of the song.

Peterson rips off several tasty solos, with the efforts on "The Raven And The Dove", "All That I Am", and "Give Me More" being particularly strong.  McClay and Roussin do a fine job of holding things together, and Gilbertson is a more than capable vocalist.  In fact, I would go so far as to say I prefer Gilbertson's voice to that of James Salter who would leave The Brave and take over the microphone for Faith Nation on the next release.  And, to be fair, Helm has a lot of talent on the keys...they are just far too heavily implemented for my tastes.  As a fan of hair metal and melodic hard rock, I can appreciate keyboards as enhancement instruments, with the occasional big role in a well executed power ballad, but this album is so keyboard heavy it drips of sugary gooiness that I just can't swallow in large doses.

One thing that I noticed on this album as opposed to the follow-up disc, Ordinary People is that this disc is a lot less lyrically vague as far as a true Christian stance.  That is repeatedly the number one knock I read on reviews of Ordinary People...that it is just so wishy-washy and spiritual, almost New Agey at times, rather than Christian in its lyrics.  That is not the case here.

If you can find it, and you are a fan of the more well known Ordinary People, then by all means, pick up Faith Nation if you find it for under $10 or so.  If you have to shell out more than that, which I am guessing you will, I personally wouldn't spend it; this album is just too slick, too keyboard heavy, and too CCM meets AOR for my tastes.

Rating: 4.5/10

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DISCIPLE "Attack"

(c) 2014 Independent Release

1. Radical
2. Attack
3. Dead Militia
4. Scarlet
5. Unbroken
6. The Name
7. Angels and Demons
8. Lion
9. Yesterday Is Over
10. Kamikaze
11. Crazy
12. The Right Time

Kevin Young--Lead Vocals

Josiah Prince--Guitars

Andrew Stanton--Guitars

Jason Wilkes--Bass, Backing Vocals

Joey West--Drums, Percussion

It seems like lately I have been reviewing a lot of new, modern material from bands that are now pushing 20 years in the industry.  Disciple's latest effort, Attack, continues that trend.  I had to actually stop and ask myself how Disciple could possible be 20 years old already...and how I am still listening to them today, as I will be honest in saying I was NOT a fan when the band started out.  Their combination of rap and metal was simply not something that slotted into my musical vocabulary as a 20-something music fan.  

Well, twenty years later, some things have changed (the rap, and most of my hair, is gone), some things have stayed the same (Disciple still BOLDLY rocks for God)...and Disciple is still here.

Granted, the only member of the band who has been here for the full history of Disciple is founder and frontman, Kevin Young.  Looking as young and fresh and energetic as always (was he 12 on the first album or something?!), Young formed a new version of the band (he refers to this version as Disciple 3.0), ditched the whole record label concept and went with a Kickstarter-funded project, and put together the best Disciple album ever, by my estimation.  Geared for modern rock radio musically, but as lyrically bold as ever, Young and company have crafted a guitar-driven modern rock record with enough edge to keep the more metal-inclined fans happy (check out "Radical", "Attack" and "The Name",  for starters), while making sure that the younger generation of fans who flooded Christian radio with requests for "Dear X..." a few years back are not left out in the cold.  

The album kicks off with its lead single, "Radical", which is one of the hardest hitters on a record chock full of uptempo rockers.  "Radical" reminds me a lot of the era when I really started finding myself liking Disciple, which is in that By God through Back Again span of records.  In fact, "Radical" sounds like it could have possibly even come from Back Again, as the hard charging guitars and thundering drums recall a harder rocking band than what Young had seemingly morphed the band into with Horseshoes & Hand Grenades, and especially Southern Hospitality. Don't get me wrong, I like both of those records, but I always felt there was an edge missing from most of the songs on those two records.  That edge has been rediscovered and reapplied here, to be sure!

From here, the title track, "Attack" continues in the hard rock vein, albeit just a slightly more radio rock direction.  A bouncy guitar riff brings the song in, crashing it into pounding drums and some  atmospheric elements, before big, shouted vocals ask, "Are you ready for a fight?!", plunging the listener into a spiritual call-to-arms battle anthem!  There's a small vocal breakdown in the middle, but the intensity doesn't let up for long before the bass drum starts to thump again and Young redirects the listener back to the matters at hand!

"Dead Militia" finds Young really reaching into his screaming vocals for the first time on this new album on yet another blistering number that will likely find itself being released as a single before this record is laid to rest.  The drums and bass are given opportunity to shine in spots on this track which is one of the two catchiest tracks, musically, on the entire record.  I was extremely happy that this song was included in the setlist of Disciple's recent City Rockfest Tour, as I was bouncing along with the song from note one (as was my 7 year old son who was attending his first ever rock show).

From here the band shifts gears a bit with what I am guessing will be a major Christian radio rock hit this summer in "Scarlet".  Leaving the hard rocking on the roadside for just a moment, Disciple jumps seamlessly into the modern rock territory it has so effectively been navigating for the past few years.  Young stays as bold as ever with his lyrics ("Though my sins they be as scarlet, Though my hands have been an enemy of God, Though my heart has played the harlot, You give me more than I deserve..."), but he never comes across as preachy or Bible-thumping in his approach, which makes a song like "Scarlet" even more accessible to fans who may be curious as to what Disciple is all about.

"Unbroken" finds the band slowing things just a bit more, steering their musical vehicle into the realm of  modern rock balladry, although they refuse to leave the thunder of the drums or the punch of the guitars completely behind on the choruses.  Speaking of the chorus, we also get to really hear Jason Wilkes add his backing vocals to this track in a simplistic, yet effective manner.  Again, a great song that will find a lot of love on rock radio, even if it is a bit too tame for some band fans.

The rockers need not fear, however, as "The Name" seems to come out of nowhere and threatens to shred your speakers with its sheer speed and power!  This is the Disciple of old by just about any account, and the band tears things up at break-neck speed on this juiced up praise and worship hymn (it's basically "Tis So Sweet To Trust In Jesus" on high octane fuel).  Experienced headbangers only need to apply for entrance here, folks!  Huge, shouted gang vocals, crushing drum rhythms, screaming guitars, a thundering breakdown, and impassioned lyrics...what more could you ask for from a band that is obviously hitting on all cylinders on this track.  Easily the highlight of the live set I saw in March (which was also boosted by a killer light show and some amazing video images...).

The one song on the record that I don't think lives up to the greatness of the rest of the record is up next with "Angels & Demons", and even this isn't a bad song.  The song structure just doesn't seem to fit the flow of most of the record (there are a couple more oddities yet to come), but I never find myself skipping this track or wishing that it hadn't been included.  Perhaps its the almost jarring change in tempo between this song and "The Name" that makes it stand out so starkly, I'm not sure. 

"Lion" is a song that had to grow on me, and I'm still not 100% certain how I feel about it sometimes.  This one is definitely a mood song for me, although much like "Angels & Demons", I would never say I dislike it and I never skip it.  The song almost feels disjointed...almost...as it has a rather quirky rhythm, especially during the chorus, that I find difficult to really lock into.  It was immensely popular in concert, so maybe its just me...

"Yesterday Is Over" returns the band to modern rock ballad territory.  This is the "lighter in the air" song of the record, to be sure.  This one is the "swayer" on the album...and in the setlist...and there were many hands in the air almost the second the infectious guitar intro to this song hit the speakers.  Young really showcases is singing talents here, rather than relying solely on his powerful, more metallic screaming style.

"Kamikaze" picks the pace right back up and is one of my three or four favorite songs on the record, although I have heard (and read) several people saying they really don't care for this track.  I love it, personally!  A definite head-bobber, and showcases a vocal trade-off between Young and Wilkes that I think really works well.  Sure, this song doesn't really fit with the majority of the record, but that only serves to set it off a bit.  It also features one of the truest guitar solos on the record, and is just an overall fun song that seems to manage to creep up a volume notch or two every time I play it.

"Crazy" feels like an industrial rocker to me with some of the effects used at the intro and throughout the rest of the track, and the bass and drums really drive this song for most of the verse sections before a sing-along styled chorus kicks in.  Not overly memorable, but a fun number near the end of the record, which closes out with "The Right Time".  As is often the case with Disciple, the band chooses to end things with a ballad (or at least a more down-tempo number), and this is a pretty good one.  An acoustic guitar carries much of the melody on a track that reminds me of a lot 80's hair band power ballads in the way it is structured.  Again, quite a bit different than the majority of the record, but a solid way to exit and one last chance for Young to get his lyrical point about God's love and salvation across to the listener.

As has been the case for several years now, Travis Wyrick is the producer of the album, and his touch is felt throughout the record.  The man has a definite knack for feeling where Disciple wants to go with their art, and Attack is no exception.  The production is clean and modern, with the guitars sounding especially crisp and sharp here, and Young's vocals punchy and out front the way they should be, without burying the rhythm section in the basement of each track.  Solid, solid work here.

While a lot of bands are satisfied to rest on their laurels...and tour on their catalog...it is evident Disciple is nowhere near done musically, as Attack is easily their most complete record in at least a decade, and my favorite from their now impressive catalog.  I was a little bit late getting to this record, but it is one that I am definitely glad I picked up as it reinvigorated my interest in this band and drove me to go back and pull out their last four or five records and rediscover some of the gems I had unintentionally buried in my CD rack.           

Rating:  9/10

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BLOODGOOD "Dangerously Close"

(c) 2013 B. Goode Records

1. Lamb Of God
2. Run Away
3. Child On Earth
4. I Will
5. Bread Alone
6. Pray
7. I Can Hold On
8. Run The Race
9. Father Father
10. Man In The Middle
11. Crush Me
12. In The Trenches

Les Carlson--Lead Vocals

Michael Bloodgood--Bass, Backing Vocals

Paul Jackson--Guitars, Backing Vocals

Oz Fox--Guitars, Backing Vocals

Kevin Whisler--Drums

If you have been awake at all for the past 8-10 years, it has become obvious that everything old is new again in the music world.  80's bands are enjoying a resurrection of sorts, playing to large crowds and festivals across the country, even if they aren't able to crack the Billboard charts any longer.  Bands seem to be reuniting on a regular basis these past several years, and new albums are coming out of nowhere from bands that many people had long-since written off.

The same phenomenon has occurred in the Christian hard rock and metal market as well.  Recent releases by Stryper, Saint, Barren Cross, Deliverance, Guardian, Tourniquet, and others, have shown that there is still a market for many of these so-called "legacy" bands to put out new material and possibly take one more run at getting out there to see their fans in live settings.  Add Bloodgood to the mix of bands taking at least one more stab at adding to their already rather significant legacy within the Christian hard rock and metal community.

Twenty-two years had passed since Bloodgood released what was their most commercial, and at least to me, their most complete album, All Stand Together, WAY back in 1991.  Prior to that, the band released several albums to fairly high amounts of acclaim, particularly with their much more metallic-sounding album, Detonation (1987), and 1988's Rock In A Hard Place.  But All Stand Together seemed to be the band's first real stab at making any kind of attempt to grab some of the mainstream melodic hard rock/hair metal market of the late 80's/early 90's...and it failed.  Personally, I love the album, but it is definitely an album that seemed to divide the band's fanbase and actually had the opposite effect that I felt it should have.  Instead of making them more popular, the band promptly disappeared, never to be heard from again....  

Until 2013.  Seemingly out of nowhere, Bloodgood showed up on Kickstarter with a plan for not only a new album, but also a career-spanning documentary film (which will hopefully see the light of day now in 2015).  In addition to returning with some of the strongest material...and some of the heavier material in several albums...the band also returned with their Out Of The Darkness album line-up along with a new friend to help them out on guitar, as Oz Fox of Stryper fame not only recorded the album, but also became a full-fledged member of the band.  

From the second the CD starts playing, it is evident that even though 20+ years have passed, the musical ability of the band is still very much intact.  Closer to the more metallic-natured material of their earlier albums, Dangerously Close comes out swinging right from the start with "Lamb Of God", which is probably the most "radio friendly" track here.  Whisler's drums kick the track off before a gritty guitar track enters, matched in grittiness by the love-'em-or-hate-'em vocals of Mr. Les Carlsen, who sounds literally EXACTLY like he did all those years ago.  Not to be overshadowed by his more-famous guitar partner, Paul Jackson rips into a tasty solo just before the bridge of the song, showing that he has the chops to carry the guitar load if necessary.  Also obvious on this song (and throughout the album) is a MUCH stronger bottom end than had been present on the last few Bloodgood discs, courtesy of the band's namesake member, Michael Bloodgood.  (Honestly, I always found it odd the bass was typically mixed so low in the band's previous releases considering the bass player was the founding member and the guy the band is named after...)  

"Run Away" again sports a chunky bass groove and a strong melodic sensibility throughout, again utilizing a solo from Jackson and a spoken/whispered word section from Carlsen to really establish an urgency to the mood of the track.  Interestingly, this song was also co-written by another former long-time member of the band, David Zaffiro, who also mastered the record, really giving this album a full "family reunion" feel to it.

"Child On Earth" has a killer classic 70's metallic vibe to it right from the outset, conjuring up a doomy, sludgy style that is really given a haunting quality when Carlsen sing/chants "amen" as part of the chorus.  This song is also the first to give Fox a chance to step up to the guitar solo podium, and he does not disappoint, as he lays down a smoldering solo, but one that fits with this song and this band, not one that is reminiscent of anything Stryper has done in the past.  No rehashed work from Fox on this track, just good, good stuff here.  Carlsen also shows that he is more than capable of still reaching the upper-ends of his register with ease, never sounding strained...and certainly not auto-tuned...when he cuts loose with a scream, or when he drops into lower register, either, for that matter.  

"I Will" slithers directly out of "Child On Earth", using a slightly middle-eastern sound to the guitar licks that kick off the song.  This is one of my favorite tracks on the album, although it is not one that I have seen given much love by other reviews or when I read fans talking about the album.  I think Carlsen sounds especially strong here, with a powerful vibrato utilized when necessary on the chorus, and a really nice solo from Jackson that sounds like it was actually recorded twice and layered ever so slightly to give it that Maiden-esque twin guitar feel.  

"Bread Alone" features some excellent double-kick work from Whisler, and on this track Oz's backing vocals are the most noticeable to me.  Straight forward American heavy metal is the order of the day on this number and the band serves it in top notch fashion.  

Without breaking the rest of the record down on a track-by-track basis, it is safe to say that the rest of the album is as good, or nearly so, as the first half of the disc.  Three tracks, "Run The Race", "Father, Father", and "Man In The Middle" all feature solos from both Jackson and Fox, and, as you may expect, all are really well-crafted.  In fact, "Man In The Middle", with its tribal drum intro and aggressive rhythm guitar section, would possibly steal the honors as best song on the album if it weren't for the powerful, plodding metal of album closer, "In The Trenches".  "Pray" sports a killer "chugga-chugga" riff and some thunderous drumming to drive the simple-yet-punchy track along until it collides head-long with one of Jackson's best solos.

Despite being a more metal-edged band than many in the 80's Christian world, Bloodgood has never shied away from the occasional ballad, and they don't change formulas on Dangerously Close.  "I Can Hold On" is the first slower moment on the record, featuring a blusier take on a classic rock ballad.  Don't think "power ballad" because that is not what this is; think 70's classic rock ballad with no keys, no acoustic interludes, or any of that other fluff that all to often found its way into 80's ballads.  "Father, Father", which I mentioned before, also features a bluesy feel to it, but it takes a more 80's top-40 rock ballad approach than the classic rock vibe of "I Can...".

If I had to pick one song that doesn't do a lot for me it would be the third ballad, the mistitled (in my opinion) "Crush Me".  Rather than a smack-you-in-the-mouth metal song, this is an acoustic ballad that just doesn't grab me.  It is nicely played and Les pours his soul into his vocal performance, as he has always done on his ballads, but this one just feels like it is missing something.   

The packaging is decent, if not spectacular.  The inner sleeve is a tri-fold with writing credits, guitar solo credits, and a brief thank-you section, as well as a section for the higher-end Kickstarter supporters.  A single band group photo is included, as is a rather artistic shot of the band's guitars, bass, drums, and microphone.  The back cover of the tray insert also features a different full-color photo of the band.  No lyrics are included.

Produced by Jackson, co-produced by Bloodgood and Carlsen, mixed by Mark Simmons, and mastered by David Zaffiro, the sound on the record is top-notch throughout.  As I said, it is really nice to hear a Bloodgood record with a solid bottom end, and the separation of instruments is clear with no muddiness at all.

If this is the book-end on this classic Christian metal outfit's career, it is definitely a solid one and shows a band going out on a high point.  If it is NOT the end (and greedy me, I hope it's not), I can honestly say I am more than anxious to hear how Bloodgood follows up a stellar return to form.

Rating:  8.5/10

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ATTALUS "Into The Sea"

(c) 2015 Facedown Records

1. The Ancient Mariner
2. This Ship Is Going Down
3. Sirens
4. Desolate Isle
5. Man, O Shipwreck
6. Step Out
7. Albatross
8. The Breath Before The Plunge
9. Into The Sea
10. Coming Clean
11. O The Depths
12. Voices From The Shore
13. Safe
14. The Greater Tide
15. Death Be Not Proud
16. Message In A Bottle

Evan King--Guitar, Vocals, Bass, Additional Keys & Instruments

Seth Davey--Lead Vocals, Keys

Chris Sierra--Drums, Vocals

John Sierra--Guitars

John Amos--Bass on "Sirens"

Attalus is a difficult band to pin down, style-wise.  At various times, they can come across as something of a modern metal outfit, a post-hardcore band, a modern hard rock band, or something of a heavy progressive amalgam that defies true categorization.  I don't know if that is intentional, if it's just a little bit of all the members' personalities and styles being thrown into a musical blender, or an effort by a slightly disjointed band to try to come up with something at least semi-cohesive to call an album.  What I do know is that while it is fairly diverse...especially for an album from a Facedown Records artist...it is brooding, heavy, lyrically challenging...and a LOT to try to take in all in a single sitting.  Talk about using every second of a CD's recordable space, this album checks in at nearly 79 minutes, and 15 of the 16 tracks here are actual songs, not just intros, outros, or interludes of some sort.

Taking a quick glance at the artwork and the song titles will present the listener with an obvious nautical theme running throughout much of the record, and lyrically that same theme is used to great effect to present the band's straight-forward Christian message of struggle, perseverance, faith, and forgiveness in a fallen world.  

The band has seen recent chart success with the single "This Ship Is Going Down", a somewhat punkish rocker composed of multiple shifts in speed, tempo, and pattern...even styles...within a five minute song, with vocals seemingly ranging from shouted/barked to screamed to sung.  There are drums, guitars, bass, and then random keyboards thrown into the mix, all tossing and turning and churning in a sonic wave that never leaves the listener 100% sure of what they are partaking of, but still finding themselves liking nonetheless.   

"Sirens" does much the same thing, establishing a largely post-hardcore musical approach, which rips right along for the majority of the track before breaking down into a relatively spoken-word style interspersed with shouted responses...and then ramping back up the sonic attack of the guitars and drums.  "Desolate Isle" is a progressive...albeit very heavy and vocally aggressive...rocker that has the feeling of being tossed around at sea, while "Man, O Shipwreck" backs completely off, utilizing Davey's surprisingly strong singing voice and a piano to carry the weight of this ballad that melds into the alt rock stylings of "Step Out"...which in turn explodes back into the disjointed crush of "Albatross"....that then gives way to a jangly, jazz-infused, post-hardcore shouted "The Breath Before The Plunge"!  

And we're only half way through the record!

On and on the album goes in much the same way, throwing you this way then pulling you back the way you came, only to knock you in an entirely different direction once again.  I can only compare it to a feeling of  musical sea-sickness that washes over me at times as I work my way through the album.  I dare say the unprepared listener...which I was, for sure...could find themselves overwhelmed by the sheer scope and volume of music here.  And I'm not completely sure if that's a good thing or not.  

There is a lot of musical talent here, to be sure, and it wouldn't surprise me at all to learn that all the members went to musical school somewhere, met in college, and formed a coffeehouse jam band that just happened to jam way HEAVIER than the usual goateed alt rock strummers one encounters in such coffeehouses.  And maybe its my age starting to catch up with my musical tastes and tolerances, but there is seriously such a mish-mash of styles and sounds going on here that I find myself having to shut it off, walk away, take a breather, maybe hit the gym to flush some angst out of my system, and then return to try to get through a few songs more.  My senses literally can't handle the all-overness of this album in a single sitting...or in fewer than four sittings, to be honest.  

Like the majority of Facedown's roster, this band leaves absolutely no question about where they stand from a lyrical standpoint, as their Christian faith is a huge part of what they do, even if they use nautical themes and various musical styles to get their messages across.  Can there be little doubt of the band's beliefs with lyrics such as "The Tide is coming, o man what wrecks are we becoming?  dive in the Sea of Grace before it changes face.  the sky is turning black -- a sign that Justice is at hand" ("This Ship Is Going Down"), or "follow the One before me, out of the ship into Grace, this is the way to Glory, there's no turning, no turning back no more, sink or swim -- don't care, just dive in" ("Into The Sea").   

It is important to note that this is a concept record of huge scope, utilizing nautical themes to tell the story of a man who sets sail on a voyage (the voyage of life) on a ship (which is the fallen, or "sinking" world), upon an Ocean/Sea, which the listener will discover is God.  I strongly recommend reading along with the lyrics sheet as the album unfolds to not only get a better grip on the story, but also to really absorb the power of the message being delivered here.

There are a few songs here that really stand alone well, with "This Ship Is Going Down", "Into The Sea", "Coming Clean", and "Safe", a flawlessly executed. largely instrumental piece, being the cream of the crop as far as I am concerned.  In fact, I have taken "Into The Sea" and "Coming Clean" and mixed them into a playlist that I use while doing work around the house or in the yard, as I really like these two tracks and they way they mix with a lot of the modern hard rock I find myself listening to these days.  I also really, really like "O The Depths", which is just a beautiful, emotionally piece of music that I returned to several times when I was first working through this record.

Amazingly performed in places with a musical skill not found in a lot of the hard music world, and poetically written, and just brutally dense, deep, and emotionally draining from a lyrical standpoint, Into The Sea is a huge project that leaves the listener feeling challenged and drained and almost washed-out if they manage to get through everything in one sitting.  I would have no clue how the band could perform this in a live setting, as I think it would exhaust all of their energy reserves just to get through the first ten or eleven songs...and they would still have five more to go!

Rating:  8/10

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SAINT "Hell Blade"

(c) 2010 Retroactive Records

1. (The Ascent)
2. The Blade
3. To The Cross
4. Crying In The Night
5. Hell Train
6. Endless Night
7. You & Me
8. New World Order
9. Sinner Peace
10. Hell Blade

Josh Kramer--Lead Vocals
Jerry Johnson--Guitars
Richard Lynch--Bass, Backing Vocals
Bill Brost--Drums, Backing Vocals

Now THIS is what classic Christian metal is all about!  I know that sounds like the way to end a review and not start one, but it is exactly what I think whenever I put this album in.  Josh's piercing vocals, Jerry's screaming lead guitars, Richard's rumbling bass lines and complementary backing vocals, and Bill's thundering drums really make this, at least for me, one of the best truly metal albums of the last decade.  Don't look for anything "core" on this album, there are no death metal growls or black metal shrieks...and certainly no emo whining...just 100% pure, authentic heavy metal the way that Saint has been doing it since they started playing together, regardless of the line-up that surrounded Richard and Josh.

On Hell Blade, I truly feel that the band has topped the 1980's masterpiecs Time's End and Too Late For Living, which is a huge feat.  And, while In The Battle, The Mark, and Crime Scene Earth (particularly the 2.0 version) were all solid albums, each was missing that little something that would push each into that "classic" category.  Hell Blade has that something, to be sure, although I can't put my finger 100% on what that something is.  To be sure, this album has the best production of the "comeback" albums that started with In The Battle, but I'm not sure that is the complete reason for this disc's greatness.  The full-time return of Josh to the microphone is huge for me (not knocking Richard's capable efforts on Crime Scene Earth), and he brings a vocal intensity, maybe even an urgency, that I think has been missing for a few albums from his still always powerful singing.  Richard's bass playing and songwriting and Jerry's lead playing are at all-time bests here, also, but again, I don't know that any of these things singularly pushes this album to the top of the Saint heap.  Perhaps it is a combination of all these things that makes this such a great album...but none of these things would matter without the songs.

Hell Blade has numerous songs on it that would find their way onto any personal "Best Of Saint" album that I would ever make.  The title track, with Josh's barked choruses and his always-will-be-compared-to-Halford screams, is an instant classic, as is the pounding "SinnerPeace".  For me, the two biggest tracks here are "New World Order", with its very topical subject matter, and "Hell Train", complete with a sinister laugh following Josh's call for "all aboard!" leading right into a rhythmic chugging bass-and-rhythm guitar line, and a POUNDING drum section, that one would expect from a "train" song.  "To The Cross" is another powerful number, especially lyrically, and "The Blade" is another punishing track that finds the band in top form.  To be completely honest, the only track I could do without is the opening instrumental, "(The Ascent)", but this feeds so seamlessly into "The Blade" that I don't even really think of it as a separate track.

As is typical of so many Saint songs and albums, the lyrics frequently touch on prophecy and End-Times material, with "New World Order" being a prime example here.  Various newsreel snippets from different world leaders is incorporated to excellent effect on this track, and I just love how it all works together.  "Hell Blade", likewise, is a another prophetic track lyrically, with Satan, the Antichrist, being the "hell blade" that is referred to in the track.  Always key to me is the fact that all of the lyrics are included here, which just makes this package all the more impressive for me.

If I had one complaint about this album, I guess it would have to be that it is only about 40 minutes long...not even that if you don't count the instrumental intro.  I would love to have had another song or two here, but not if any additional material was of lesser quality that would deter from the album's overall greatness.  OH!  It's also a digipack, which I hate, so I guess there are two things I can complain about.  Rats....

If you pick up only one of the Saint comeback albums, my recommendation would be Hell Blade, although all of the albums from In The Battle on are very good.  I am anxiously awaiting the next Saint album, hoping it is even close to the level that this one is.

Rating:  9.5/10

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7EVENTH TIME DOWN "Alive In You"

(c) 2011 BEC Recordings

1. I Need Someone
2. Alive In You
3. What About Tonight
4. Get Me To You
5. World Changer
6. Do You Believe
7. Jesus Machine
8. Love Parade
9. Worship Jesus
10. Rusty Nails

Mikey Howard--Lead & Backing Vocals, Guitars
Austin Miller--Drums, Gang Vocals
Eric Van Zant--Guitars, Gang Vocals
Cliff Williams--Bass, Backing Vocals, Gang Vocals
Scotty Wilbanks--Piano, Organ Programming, Tambourine, Additional Vocals

7eventh Time Down knows exactly who they are and what works for them, and they are unapologetic about it. When the sticker on the front of the album states that this CD would be a good one to recommend to fans of Daughtry or Shinedown, they are not kidding, especially on the Daughtry front. There are, in fact, times when 7eventh Time Down sound more like Daughtry than Daughtry does! I can also hear Nickelback here, especially on the ballads. So, what the purchaser/listener can expect is fairly solid modern radio rock that plays things fairly safe and doesn't do a lot to stretch the boundaries of their comfort zone, with one glaring exception (more later). This is both a good thing and a bad thing, however.

On the plus side, there is no question that 7TD is going to get some serious radio airplay, both on contemporary Christian rock stations and on open-minded modern rock radio...possibly even on satelite stations like Sirius/XM's Octane channel. The sound is that solid and that compatible with the Shinedowns, Daughtrys, Nickelbacks, Breaking Benjamins, etc. Mikey Howard has a very strong tenor that he can both sing and shout with, adding in the rougher edges when required. Songs like "I Need Someone", "Alive In You", "World Changer", "Do You Believe" and "What About Tonight" are all credible modern rock tracks that will sound right at home on your radio, with the title track really plunging into Nickelback territory on the chorus. Lyrically, 7TD does not shy away from what they believe, and most songs here feature solid faith-based (not Bible chapter-and-verse type) lyrics that at times jump into the praise and worship realm. This is especially true on songs like "Worship Jesus" and "Rusty Nails", with the first verse of "Rusty Nails" reading:

"Rusty nails in tender skin
And calloused hands of men
Pinning all that is so good
On two pieces of wood..."

This song, in particular, really shows the songwriting skill these guys have, even if it is also the least rocking tune on the disc.

Musically, the guitars are typically downtuned and fuzzed up, and the band is very tight, obviously having spent some time performing together. The leads offered up by Van Zant are bright and catchy, if not overly complex, and the rhythm playing is very well done. Miller and Williams are more than competent as a rhythm section, so the music is not a problem here, and is, once again, very comparable to most of what you find on modern rock radio.

The problem is that some of the songs come off as forced, at least to me. For example, "Jesus Machine"...I just don't get it, to be honest. Maybe it is my age showing a bit here, but the lyrics are just silly to me...

"We are the heart of the Jesus Machine,
I hope you know what that means.
Get on the bus, come and rock with us.
We are the heart of the Jesus Machine."

Uh, no, I guess I don't know "what that means". Were 7TD just looking for rhymes here? Also from that same song: "Faith is so bionic, You know you're gonna want it..." Ummm...okay???

"Get Me To You" has potential musically, but lyrically it is just incredibly cliche and sounds to me like a song that the band wrote at the last minute to get a full ten songs on the album. Not terrible, but nowhere near the strength of the first three or last two tracks.

The major roadblock for me (I can't even call it a bump in the road, because this just about caused me  to stop altogether) is "Love Parade". This track sounds absolutely NOTHING like the rest of the album, with a funk-based style, a horn-section (well, programmed horns, anyway), and even more quirky lyrics ("I'm like a love-sick puppy, chasing you around") that just make this song an absolute skipper for me.

So, what do we have in the end? For me, this is a band that shows a LOT of promise, and they could have released a really good 6 or 7 song EP here. The production is solid, the packaging is decent, and the band obviously has musical talent and shows flashes of solid songwriting. However, the low points suck the high points down far enough that the entire project comes off as incomplete and somewhat mediocre, albeit with some nice, shining moment. I guess the fact that this disc is bargain-priced at $7.99 (at least at my local Christian bookstore) is a minor saving point, as that is about what  it would cost to download the truly good songs from Amazon or iTunes.

Rating: 6/10  

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SEVENTH DAY SLUMBER "Found"

(c) 2017 VSR Music Group

1. Sky Is Falling
2. Horizon
3. Found
4. Sins Of Our Fathers
5. Heart On My Sleeve
6. Mercy Meets My Pain
7. Til The End
8. Tomorrow Breaks (Into The Fire)
9. Fallen
10. My Last Words

Joseph Rojas--Lead Vocals, Guitars

Jeremy Holderfield--Lead Guitars

Ken Reed--Bass

Blaise Rojas--Drums, Percussion

I first encountered Seventh Day Slumber about 12 years ago, or so, when I was rummaging through a used CD store in Denver, Colorado.  I grew up in the 70s and 80s, and was a big fan of the arena/hair metal genre, so when I found this CD called Picking Up The Pieces by Seventh Day Slumber, I had to snag it.  Why?  Because the track listing included "When The Children Cry", and I had to know if it was the same song that was done by White Lion.  Ignoring all of the other tracks on the CD, I popped the disc in and immediately tracked to "...Children...", and sure enough it was the same song.  The singer had a much lower range than Mike Tramp, and the feel of the song was a bit grungier than the original, but it was still the same song, and I found myself liking the approach the band had taken. Also, being a huge fan of the Christian hard rock/metal sub-genre, and owning every Stryper, Whitecross, Guardian, and Skillet CD out there, I was also appreciative of the message the band delivered on the rest of the album (once I got around to listening to it), and I mentally filed the band away as one that I'd check out further at some point.

Flash forward to 2017, and I am still a fan of the Christian hard rockers, having seen them in concert a couple of times and getting the chance to meet them, as well.  I pretty much own the band's catalog (minus their first couple of very hard to come by independent releases), and have been generally pleased with the majority of the band's output through the years (you can read reviews of We Are The Broken and Redline).

Found is the band's first full-length release in over five years, and one that finds the band doing what they do best, wrapping solid hard-but-radio accessible rockers around a couple of emotional ballads, challenging listeners to dig deep inside themselves to work through questions of self-worth, pain, faith, and redemption.  Never shying away from their faith, Seventh Day Slumber has always delivered a powerful message with powerful music, and Found is certainly not the exception.

The album kicks off in fine fashion with the hard-driving "Sky Is Falling", which features a nice guitar hook from Holderman right out of the gate, a solid bass line from Reed, and the smooth, emotion-laced tenor of Rojas, all of which have been trademarks of the band for several albums now.  What is new, however, is the strong drum performance of Blaise Rojas, who took over the drummer's seat on Redline, and who showcases solid musical growth throughout Found.  On "Sky Is Falling", the strength of the drums is evident right from the start, and the younger Rojas finds himself perfectly in the mix of the track, not only as the timekeeper for the band, but as an interesting part of the listening experience.  It's nice to hear that he is allowed to expand past the simplistic rhythms and patterns frequently utilized by younger musicians.

"Horizon" finds the band slipping into a bit more melodic territory, while still maintaining an upbeat rock tempo.  Solid backing vocals add to the depth here, and I'm betting this track will find itself on the radio in the near future, as well as in the band's setlist for shows.  The track flows very well with an easy-to-sing chorus, but I do wish Holderfield's guitar had been given the chance to voice a nice, melodic solo somewhere between chorus sections on this song about persisting through the hard times and not taking your eyes off the Prize.

The album's lead single is also the title track, and "Found", the song, is a powerful example of Rojas laying himself bare emotionally.  The singer says the song is one that really touches him deeply when he performs it, and it is definitely one that many people will likely identify with when they hear it.  Seamlessly melding in a section of "The Old Rugged Cross", "Found" is one of the better ballads the band has ever put on an album, in my opinion, and is likely to be one of the biggest Christian rock hits of 2017.

Back-to-back tracks ramp the album back up into hard rocking territory, with "Sins Of Our Fathers" and "Heart On My Sleeve".  Both are excellent rockers, and "Heart...", in particular, really gives Holderfield a chance to shine on a muscular solo that fights its way to the forefront before the final, catchy chorus section kicks in.  Really good stuff here on both of these tracks that are guaranteed to please fans of the hard-edged tracks from We Are The Broken or Redline, or for fans of the gritty radio rock put out by bands like Skillet and Thousand Foot Krutch.

Things slow back down a bit with consecutive ballads, the piano-based "Mercy Meets My Pain", and the more power ballad-styled, "Til The End".  While neither is a bad song, by any stretch, placing them sequentially, and just a couple of songs separated from "Found", kind of bogs the album down a touch here, and I probably would have moved "Til The End"...well...toward the end of the record, just for pacing reasons.  In fairness, I really like "Til The End", and it holds a great message of redemption, with a chorus of "tomorrow you will wake up, its another day of, mercies that will never end...", while also encouraging the listener to "let go of the past, let go of those ways, let go of all the anger, all of the mistakes".  A great message, just perhaps placed in a bad spot, tempo-wise.

Once again, the rock returns with "Tomorrow Breaks (Into The Fire)", which is one of the top four songs on the record, without question.  One of the true strengths of this band, for me, has always been the way Joseph can just glide his tenor across a pretty hard rocking track like this one with seemingly no strain or effort at all, but without compromising the grit necessary to maintain the edginess of the track.  Holderfield can be heard constantly churning in the background with some really good rhythm work, and Reed weaves a pulsing bass thread throughout the track.  Good, good stuff.

"Fallen" continues the rock assault, and I wish the record had closed with this track, just to leave me with a fist in the air moment.  Understandably, however, the band chooses to close with the praise and worship-styled "My Last Words".  A track which I would call an "uptempo ballad", if that makes sense, "My Last Words" features some nice string work, acoustic rhythm guitars...and...do I hear a slide guitar, also(?)...on a track that bears a strong resemblance to "Found" as far as tempo goes.  I could see CCM stations picking up on this track in a big way, while rock stations may pass it over in favor of the grittier material on this record.

I'm not going to deny I'm always a fan of the harder material, regardless of the band, and the case is no different with Found.  This new album has plenty of those hard-edged moments, and while they don't do anything to really push the boundaries of what 7DS is known for, I don't think they need to, either.  After all, Seventh Day Slumber has always been about the message, with the way that message is delivered being a secondary concern.  Thankfully, the band continues to deliver that message in a way that this old rocker can really appreciate and rock out with, while also sharing it with the next generation of rockers coming up in my household!

Rating:  7/10

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MANAFEST "Stones"

(c) 2017 Manafest Productions

1. Stones
2. House Of Cards
3. Firestarter
4. When The Truth Comes Out
5. Find A Way To Fight
6. You're Gonna Rise
7. Blow You Away
8. Coming Back
9. Merry Go Round
10. Amplifier (featuring Aicia Simila)
11. Won't Give Up

Chris Greenwood (Manafest)--All Lead Vocals

Musicians

Mike McPherson--Drums (2)

Mike "X" O'Connor--Bass (2,3) Guitars (2,3,5,6,7,9,10) Keys/Programming (2,3,5,7,9, 10 ) Drums (3) 

Adam Stark--Guitars (2)

Seth Mosley--Guitars (2,6, 10) Bass (10) Keys/Programming (2,3,6,9,10) 

Joe Rickard--Guitars (3,5,7,9) Drums (3,7,9) Bass (3,9) Keys/Programming (3,5,7)

Kevin "Thrasher" Gruft--Guitars (4)

Johnny Litlen--Programming (4)

Taylor Dexter--Drums (8) 

As I have gotten older, I have expanded my musical horizons to a large degree, but there are always the common elements of catchy songwriting, hard-edged guitar work, and a dynamic vocal presence, in nearly everything I choose to listen to.  As a father, I am also very conscious of what I expose my still-young children to lyrically, and I find myself losing patience with acts who feel the need to fill every song with a dictionary full of vulgarity and profanity.  Hey, I can stomach an F*bomb on a song or two in an album, but every song, of every album, all the time?  No thanks...I'll pass.

As a Christian who also happens to be a fan of hard music and supports a huge number of the acts in the scene, I find referring back to my first statement, as my musical horizons have expanded to include the "active rock/modern hard rock" genre, including some of the rap-rock that would've been lumped under the Nu-Metal umbrella in the 90s.  It is because of this expansion of my musical tastes that I was first introduced to Manafest.

Manafest (real name Chris Greenwood) is a rapper/rocker from Canada who has actually been around for quite some time now.  I first encountered his music while listening to a Christian/Positive Rock station out of Orlando, FL, when I heard the song "Bring The Ruckus", which comes from his 2010 album, The Chase.  I liked the tune pretty well with its hard-edged guitars, catchy chorus, and modern, edgy production, so I played it for my boys, who also loved it.  So I snagged The Chase off of eBay and gave it a listen.  What I discovered was a really good modern rock record that was sometimes rapped, sometimes sang, sometimes screamed, and nearly always packed with some really solid modern guitar work, hard-hitting (although frequently programmed) drums, and some crafty hooks to draw the listener in, while also utilizing positive, uplifting, and often-boldly Christian lyrics.  Thinking this was something I could get into a bit more, I ordered a couple more albums from Manafest, specifically Fighter (2012), and The Moment (2013).  Again, the albums had some pretty catchy, hooky music, with several songs featuring solid, edgy guitars, and a healthy dose of backing vocals/chorus vocals from Trevor McNevan of Thousand Foot Krutch, who was also all over the place on The Chase.  My kids, again, loved the records, but I found myself not nearly as impressed as I was with The Chase because more and more hip-hop was creeping back into the songs and the rock was being somewhat edged out.  By the time I got around to the next album, 2015's Reborn, I found it difficult for me to find much to really hang my hard rock hat on, as it was pretty much a straight up hip hop/rap album, with minor..VERY minor...rock influence and quite a bit of electronic hip hop thrown into the mix.  Definitely not my thing, and even my boys were like, "What happened to Manafest?"

When it was announced that Manafest would be recording a new, fully-independent record (as Reborn was), and that a Kickstarter campaign was in place for the record, I was hopeful that he would be returning to the sound my kids had fallen in love with and which I had a very solid respect for and enjoyed listening to.  But I also had my doubts.  Then I read where Manafest, himself, said that he was writing this album as a full-on rock project, so I decided to take a shot, and backed the project.

I am so very glad that I did.

Not only is Stones a full-on rock record, there is even less rap/hip hop on it than there was on the very good The Chase album.  In fact, there are any number of songs here that belong solidly in the mix on any active rock station or Sirius/XM's Octane channel, as they feature hard (heavy?!), crunchy guitars, some seriously furious (LIVE!) drumming, and the typical hook-laden, catchy songwriting that drew me to Manafest's music in the first place.  There is a darker, edgier vibe to the rock laid down by the numerous musicians listed in the credits above, which gives the deeper, soul-searching lyrics even more punch on Stones.   

The album opens with the title track, "Stones", which features some catchy guitar...and a slightly annoying electronic effect that runs throughout the track...and Manafest comes out with some tight rap-rock vocals that are a bit reminiscent of early TFK or Pillar.  The chorus is snappy and easy to catch onto, and there are a few fist-in-the-air-at-the-show moments, but while it was definitely a step back towards The Chase or Fighter, as far as the rock element was concerned, I wasn't overly blown away by the track.

"House Of Cards" nudged me forward, however, with some urgent, charging guitars leading into the vocals, a really nice breakdown that also features some screaming solo guitar work, and a great, positive message that is delivered with more snarl to the still rappish vocals, although those vocals are becoming more and more rock oriented.

"Firestarter" continues along the same lines as "House Of Cards" with a catchy rhythm guitar, a really nice use of hard-electronic elements, and more biting vocals that are now starting to completely lose their rap phrasing and moving fully into the hard rock style used by many of the active rock bands today.  While I know programming is used in places on this track, there is some solid drum work used here, as well, and the rhythm guitar buzzes along throughout the track, not just in a supporting role, but as a driver for the track.  

"When The Truth Comes Out" slides back to more of a hip hop style, but a catchy chorus of "when the truth comes out its LOUD!", and a decent dose of guitars keeps my interest and prevents me from reaching for the skip button.  Definitely not one of my favorite tracks, but passable.

Things start to get very loud and very aggressive once "Find A Way To Fight" hits.  A combination of crushing guitars and hard-edged electronic elements remind me of the approach Stabbing Westward used to such success in the late 90s/early 2000s.  This is a straight-up hard rocker, with the vocals no longer using the rap phrasing style at all, and a mosh pit is forming at the front of the stage as I visualize what this song would look and sound like in a live setting.  

"You're Gonna Rise" backs off the intensity of the guitars and uses an ambient, almost haunting electronic presence to lead it in, as Manafest sings...yes, sings...the verse sections of this track which I would say serves as the ballad of the record.  Whereas on previous albums Trevor McNeban would have jumped in to support the chorus, Manafest handles this part himself, proving that he has learned some very solid singing lessons from McNeban.  Melodic and emotional, this is the lighter-in-the-air moment for Stones, and I anticipate this song will be all over Christian rock radio very soon.

"Blow You Away" returns to the hard rock, as the title would imply, with more chunky guitars and pounding drums, as Manafest implores, "Save me from myself, pull me out of hell" in the pre-chorus.  There is a rap-rock element utilized in the chorus, but it's darn catchy regardless, and "Blow You Away" finds itself sitting as my third or fourth favorite track here.  

"Coming Back" is a track I have no real use for, as it is an island, reggae-influenced hip hop track that holds no interest for me.  I honestly skip it.

"Merry Go Round" goes right back after things and, depending on my mood, is either my favorite or second favorite track here.  I LOVE the catchiness of the chorus, the electronics that just have me picturing a carnival, the angst-filled vocals, and the crunch of the song.  "Tell me, I'm an Angel or Demon, You hate me, then you love me, 'til you're making me crazy!  Round and round and round we go, can't get off this Merry-Go..."  I just love this song and the message of frustration and disillusionment that I think so many kids today will be able to relate to, but with a positive note of hope and love that the listener can reach for.  Big, pounding drums and churning guitars drive the track throughout, and I find myself repeating this track two or three times whenever I pop this disc in.

"Amplifier" is a more laid back moment on the record, although not a true ballad in my book.  A smooth female co-lead vocal from Alicia Similia helps this dancefloor track along, and I would again expect that this song will find radio airplay yet this summer.  Easy to listen to, "Amplifier" is an okay track, but with the edgy rock that is all over this record, the title is a nasty little tease, as there isn't much rock being amplified here.

The record closes with "Won't Give Up" a combo song of sorts, with some punchy guitars, a dance floor beat, and straight up hip hop vocals, that was likely incorporated to keep the rap fans happy without turning the rock fans off.  Bottom half stuff for me and not overly memorable, but again, not necessarily something I'd hit skip or stop on.  People who are into the rock/rap style used to such success by Family Force 5 (which my kids are) will likely really enjoy this track (which they did).

The production is excellent here, which is often a concern on indie projects.  The packaging is a single-fold, cardboard slipcase, with a large, fold-out poster with writing and musician credits on the backside, as well as an extensive Thank You list, highlighted by a list of people who contributed on Kickstarter.  There are no lyrics included, but Manafest is pretty easy to understand and the vocals are never buried in the mix, so a few listens on even the hardest rocking tracks will allow most listeners to catch the words so they can sing along.

This is the Manafest I was hoping to hear again...for the most part...and I am very glad that I took the chance to back this record and to pick it up.  Already, I have ripped nearly half of the CD and burned it onto a Manafest mix disc featuring my favorites from his previous efforts, so that I have something to throw into the mix for the kids on road trips.  And yes, I throw it in for myself, as well.

Here's hoping Manafest does't stray from his rock roots when he decides to hit the studio again.  Hopefully he will tour close enough to my location that I am able to get my kids to one of his shows sometime soon.  I'd be very interested to see and hear how his music comes across in the live setting.

Do yourself a favor and grab Stones when it is available in late July, and go ahead and track down The Chase, Fighter, and The Moment while you are waiting for Stones to hit your mailbox or music store.

Rating:  8/10

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SCOTT STAPP "Sinner's Creed" (Book Review)

(c) 2012 Tyndale Books

Love them or hate them, it is impossible to deny that Creed is one of the biggest rock acts of the past twenty years, selling more than 40 million copies of their four multiplatinum studio albums.  As such, the band's lead singer, Scott Stapp, who has also sold more than two million copies of his solo album, The Great Divide, is one of the most beloved...and most loathed...singers of that same time frame.  Never one to shy away from a fight (which he talks about in this memoir), Stapp steps up to the plate to deliver, along with co-author David Ritz, a solid, extremely readable account of the triumphs and struggles of this not-yet 40-year-old megastar.

Without giving away too much detail, Stapp tells of his abandonment by his biological father, the abusive relationship with his step-father, the rise, fall, and disbanding of Creed, the semi-suicidal accident that nearly claimed his life...and how a rapper saved his life!  From the band's early days as Naked Toddler ("The name didn't go over well..." p. 98), to Brian Marshall's departure, to the creation of Alter Bridge (which Stapp never mentions by name), the various stages of the band's career are discussed from Stapp's unique point of view as the man out front...and then out of the band.  The singer also discusses the meanings behind numerous Creed songs, his frustration with the band being labelled  a "Christian band" ("we didn't want to be Stryper..." p. 136) despite the fact that he is a profound Christian who writes deeply spiritual, often prayerful lyrics, and how his wife and children have saved his life on multiple occasions.  He also discusses in candid detail his struggles with drugs and alcohol, multiple rehab stints, and how he finally surrendered everything to God in order to salvage his life, career, and family.

Included at the end of the book are the lyrics to all of the songs that Stapp has written for Creed throughout the years.  Oddly, however, the lyrics to his solo album are NOT included.  I am not sure why; perhaps this was simply an oversight.  It is a nice inclusion for people who are following along as he writes the book and wants to get further reference to the lyrics he frequently quotes throughout.

Another little unique twist to this book is the inclusion of a free download of a previously unreleased Stapp song, the title track to this book, "Sinner's Creed".  Not sure if this will be a part of the next Stapp solo release (which he mentions here) or the next Creed studio album (also hinted at), but it is a solid track that will be loved by Creed/Stapp fans...and just as equally hated by those who can't stand the band or the man.

Again, a very solidly written book that brings to light Stapp's side of some of the controversy that has surrounded him and Creed through the years.  More than that, though, this is a book about a Christian man's struggle to reconcile the rock n' roll lifestyle he admittedly lived (and abused) with the faith that he claims he always carried with him, and his ultimate understanding that he could not have it both ways and that something would have to be sacrificed if he was to survive.

Definitely not a tell-all, not a slanderous account, and not a sordid details type of book, but a compelling page-turner that I finished in just a few days time.  Recommended reading for fans of Stapp or Creed, or for anyone looking for a positive, faith-based book about overcoming personal struggles and demons.  

(294 pages, hardcover)

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