RANDOM HERO "Tension"

(c) 2019 Rockfest Records

1. Desperate Measures
2. Motivation
3. Weight Of The World
4. Tension
5. Outgrown
6. So Close
7. Public Enemy
8. Set It Free
9. The Sound
10. White Flag

Aaron Watkins--Lead Vocals

Micah Labrosse--Guitars

Rob "Los" McDonough--Bass

Patrick Madsen--Drums

Denver's Random Hero is no stranger to mainstream success, at least on a limited scale, but they are quite possibly a stranger to you.  Despite the fact that they have had two mainstream rock Top 30 hits with the catchy rocker "Impossible", as well as "Running"...not to mention numerous other Top 5 charting Christian rock hits...most fans of the modern rock genre probably couldn't pick Random Hero out of a lineup.  They seek to change that with their latest effort, and first for RockFest Records, Tension.

The album kicks off with a boom-crash-boom-boom-crash from Madsen's drums, and we are off and running with "Desperate Measures", the uber-catchy, hook-laden opener.  The song is an absolute powerhouse, with pretty much everything a hard rock fan could want from a band these days:  strong vocals, a big drum presence, and aggressive guitar work.  What goes unnoticed by so many is the strong bass presence in this song, and nearly every other song on the record.  McDonough is a very competent bassist, staying on the drum's line when necessary, or straying outside the lines to create interesting textures and rhythms when called upon.  When you grab this record (which you definitely should do), take the time to seek out the sounds that McDonough drops into each song and see if you don't appreciate him even more.

"Motivation" is another catchy rocker based largely upon a snappy drum/percussion line to open things.  The chorus is the big hook for me on this one, as Watkins' big voice is used for the call portion of the chorus, while a more laid-back vocal approach is used for the reply sections.  Good, good stuff here, and that isn't even giving proper credit to the guitars being used so strongly on these chorus sections or the superb drum work on this track, with changing tempos and patterns being used throughout.

"Weight Of The World" is probably the most aggressive song on the record, with edgy guitars blazing the path to Watkins' vocals right from the outset of the song.  A song about heaping too much upon yourself and stressing yourself out in the process, the lyrics likely hit home for a lot of people in today's full-speed-ahead world.  With stress being a huge issue of this record, "Weight Of The World" has some of the most blunt lyrics, as Watkins sings, "Oh no, the panic in my heads getting hard to bury/Let go, Easier said than done./Am I extraordinary/Running on fumes, getting close to empty/Oh no, the Weight of the World is getting hard to carry!"Good, good stuff here, both musically and lyrically.

The album's title track and lead single, "Tension" is up next, and it is a perfect example of the growth of the band in the songwriting category.  Teaming with Josiah Prince, guitarist of Disciple, Watkins, Madsen, and McDonough craft a song that builds upon some introductory programmed elements, adding in rhythm guitars and drums, before Watkins jumps in.  A bed of programming and guitars burns beneath the verse sections, but its the big, soaring vocals on the chorus that are likely to grab the listener's attention the first few times through the song.  After the second chorus run, we get a big tempo change with a piano being added to the mix as Watkins calls out, "Am I going out of my mind?/My vision's blurry all the time/I know You see where I hide/But I'm just too scared to chase the Light."  Already a hit at Christian rock radio, this is a song that should be all over Sirius/XM's Octane channel, as it hits all the musical chords that crowd craves, while delivering a message that so many people of EVERY crowd needs to hear!

If I had one complaint about Tension, it would have to be the middle of the record, specifically "Outgrown" and "So Close".  The first feels like a blatant stab at the modern pop scene, coming closer to the electronically enhanced hip-hop style that someone like Manafest uses than what I would expect from a hard rock group.  I mean, we have electronic drums, layers of programmed synths, fingersnaps...just not what I would have expected to be dropped into the middle of an otherwise stellar record.  As to "So Close", it's not the song that is troublesome for me, it is its positioning on the record.  Putting two slower-tempo songs back to back nearly bogs the record down for me.  But, I also want to be fair in stating that I don't dislike either song...not at all.  For example, I have made no bones about the fact that I actually like a lot of what Manafest does, and "So Close" is performed exquisitely, with Watkins sounding exceptionally strong on the ballad.  I just don't understand the track listing order, I guess.  I think both songs would have been better served to be separated from each other.

Fortunately for the rockers that either stuck around or skipped ahead, the record rights itself in a big way, as "Public Enemy" is one of the really good tracks on a record chock full of good-to-great songs!  Marching style drums intro the track and Watkins applies a rhythmic approach to the verse sections to go right along with the drums.  The pre-chorus becomes a bit more melodic and less rhythmic, only to return to that cadenced vocal approach on the chorus.  A grinding guitar solo tears into the musical fabric after the second chorus, and the track's intensity picks up a bit from there until it comes to a conclusion.  I love the sparse nature of the chorus and the rhythmic approach taken to the song as a whole, and it's stuff like this that really sets Random Hero and Tension apart from a lot of other bands out there today.

"Set Free" is a more straight-ahead rocker with buzzsaw guitars and a solid rhythm section bolstering Watkins powerhouse vocals that range from singing to shouting on this one.  The backing vocals are also really strong here, which serve to make Watkins stand out that much more.  I usually find myself hitting repeat on this track when I put it on.

"The Sound" starts off with some programmed elements and some subtle effects used on Watkins vocals, giving the track a very modern sound but with a catchy riff and a sing along chorus.  This leads us to another of my favorites, the album's closer, "White Flag", which is a song all about surrendering to God.  The chorus is very catchy and the guitar solo here is among the best on the record as Labrosse does some serious string bending before the band jumps back in to make a final run through the vocally-layered chorus.  An impressive ending to a very impressive record.

I'm not sure how much the move to Rockfest Records influenced the style and sound of this record, but it certainly didn't hurt things.  Rockfest has been a beast of a label in 2019, and the production work done on Tension is top-notch.  The guitars retain their grittiness on most songs, and the voices of the instruments are all given room to be heard.  I honestly feared that Tension would sound over-produced, especially with how well it was received on the charts, because, let's face it, hard rock and metal are generally not well-received without some sort of concession in the sound of the band.  That is not the case with Tension, however, as Random Hero still sounds like Random Hero, and I think a lot of that has to be due to the fact that the producer, Kellen McGregor, has learned a thing or two about industry perceptions with his own band, Memphis May Fire.  Yes, there are some differences between this record and the band's previous effort, but that is what we call "growth".  And, in the end, Tension shows serious growth for the band, especially as songwriters.  Now, my only real question now is how is Random Hero going to top this?  

Rating:  Definitely a crank-worthy release!  Crank it to 8!

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DAV "War Zone"

(c) 2020 Independent Release

1. Crazy
2. New Name
3. War Zone
4. The Abyss
5. What I Can't See
6. Your Name
7. All It Takes
8. Happiness
9. Reach Out
10. Fly Away
11. Scratching The Surface
12. Addiction

Dave Hanson--Lead Vocals, Guitars, Bass

Jacob Towns--Unclean Vocals

J.W. Reed--Guitars

Zack Gallipeau--Guitars, Bass on 12

Jacob Gallipeau--Drums

Additional Musicians

Lori Peters--Drums on 1, 2, 3, 5, 7
Jenna Kopitske--Drums on 4 and 8
Bryan Arzaga--Guitar solos on 1, 3, and 7

Jon The Revelator--Additional vocals on 7

Ian Sebastian--Bass on 4
Marisa Slempkes--Backing vocals on 4
Eric J. Milton--Backing screams on 3 and 7
Sydney Gallipeau--Harmony vocals on 5

Following the end of his previous band, In The Verse, Dave Hanson embarked on a new project, known simply as DAV (both a shortened version of his name and also an acronym for Delivered, Adored, Victorious), which released a handful of singles in 2018 and 2019.  Two of those singles, "All It Takes" and "Scratching The Surface" hit the top spot on various Christian rock charts, and Hanson decided to expand the project to become a full group.  

Of course, one of the things that will likely draw some attention from casual fans is the fact that Lori Peters, formerly of Skillet, plays on almost half of the record.  Other outside friends joined in the project, as well, with Jon "The Revelaytor" performing the guest rap vocals on "All It Takes", and Ian Sebastian of Ignescent contributing bass on "The Abyss".  And while those things are all great, the key thing to take away here is that DAV is a true band project now, not just a side project from Hanson with some friends filling in as needed.

War Zone, as a record, is a bit of an experimentation of styles, with the record basically being broken into modern rock tracks and modern metal tracks...with a few fun quirks thrown into the mix.  "Crazy" kicks things off in that modern rock mode as Hanson proclaims, "I don't care what fear says, The Reaper does not scare me!/ I am saved by the Cross, You can call me crazy!"  The guitar solo coming out of the second verse is a real treat, as there is some serious string shredding going on courtesy of Bryan Arzaga.  Lori Peters was on board for drums on this track, and her style is one that fits the track well.  Punchy, without being heavy-handed, the percussion is a driving force here and definitely helps to set the tone for this full album release.  Definitely a solid way to kick off the record, and "Crazy" is a track that should feel comfortable to fans of Hanson's previous project, In The Verse, or anyone familiar with the tracks dropped last year.

"New Name" is something of an outlier on the record, as it incorporates some significant electronic elements into the track.  It never really crosses over into industrial territory, and it definitely isn't dub step or techno, but there are elements that will surprise a lot of people, especially when the laser blasts start firing following the first run through the chorus.  The guitars keep this firmly in modern rock territory, and the drumming from Lori Peters is rock solid, as would be expected from the Skillet alum.  I can't help but like the song, even as I find myself asking, "Just where did that sound come from?"  The message here is excellent, also, as Hanson sings about redemption in Christ, regardless of what our weaknesses are or what our sins have brought us to.

The title track straddles the line between being a really heavy, full-fledged metal track and the more modern radio rock sound Hanson found success with in both In The Verse and the DAV EP.  Yes, hanson adds some of his own deathy support on vocals, along with Eric Milton, and there are some great rhythm guitar riffs, as well, but the majority of the track stays relatively radio friendly...at least as far as hard rock radio goes.  "War Zone" is definitely one of my favorite tracks on the record because it gives fans of multiple styles something to sink their teeth into.  After kicking off with the sound of a beer bottle opening, some rugged rhythm guitars cut their way into the mix, and once again Peters' drum work graces the track with some serious thunder, but without dominating the overall feel of the track.

I previously said "New Name" was "something of an outlier", and that is because as odd as that track may strike some listeners, "Your Name" is going to slap most people in the earhole with a strangeness that DAV fans will likely not see coming.  We are talking full-on electronic sounds and some almost bouncy keyboard elements...I mean, we're talking nearly circus like instrumentation...embellished with blackened screams in the background and a sweet, sweet guitar solo that is an absolute string-bender, packed with emotion and talent.  I don't even know where to go with a full description of this track because it is just so...unquantifiable.  It's just...wow...  You simply need to hear it to understand my lack of comparison or description.  And that's not a bad thing...it's just what it is.

"What I Can't See" is a full-fledged praise and worship track set to big arena drums and edgy guitars and modern production elements.  Deeply passionate about his love for Christ, Hanson pours himself into his vocals on this bright-sounding track that I could even hear being sung in a youth group or a younger congregation church.  I have to say that it is not out of the realm of possibility that DAV could eventually put out a full praise record, and a song like "What I Can't See" would fit extremely well.  It's a bit of a surprise to hear, but it is a welcome one.

And then there are the truly heavy moments, which are scattered all across War Zone.  "The Abyss" is the first really metal moment on the record, and it doesn't disappoint.  Opening with some demonic-sounding screeches, "The Abyss" combines Hanson's instantly recognizable clean style with some truly deep growls from Jacob Towns, and is, to me, a natural progression from a more hard rock/modern rock track like "Scratching The Surface", which hints at being heavier than it probably is.  Mix in a blistering solo, with a really cool guitar outro to close the track, and you have one beast of a song that will likely garner some metal airplay at some point on TheBlast.FM or a similar station, even if it may be a bit too heavy for the likes of ChristianRock.Net.  This is some ferocious music, but hang on, as this isn't even the heaviest moment on the record.

"Reach Out" is another full-on head banger which incorporates about as much metallic variety as one can pack into a track.  We have Hanson's clean vocals, and then both guttural death vocals and screeching black metal vocals used as supporting voices, all within one song, and that doesn't even get into the different effects used on Hanson's voice in various spots.  Heavy guitar riffing and some thundering drums are accompanied by programmed orchestral elements, giving the music a really full sound with a serious dose of melody in spots.  I know it sounds like it could be a musical train wreck, but it actually works extremely well, and I truly home that "Reach Out" ends up being a single off this record, as it is a really good track.  I love the message, also, as Hanson exclaims, "Brokenness is not weakness...Reach Out, Reach Out!"  Later he professes, "I know that I am alive, Found God, No longer broken!"  Really a potent message for those who may feel they are lost and worthless, broken and beaten down.

Album closer, "Addiction", really unleashes the blackened vocals at an even higher level than "Reach Out" did, and Towns is also able to scrape the bottom of the vocal barrel with some more harsh growling.  There are some impressive drum fills from Gallipeau, with a lot of double bass work, and the breakdown section chugs along with some serious intensity, even if it is relatively short.  Guitars swirl all over the place in a mosh-pit inducing frenzy of sound that wraps War Zone up in a punishing fashion.  Hang on at the end, as there is a false ending before a massive guitar run that pushes things into borderline thrash territory that you absolutely need to hear!  A great way to close things out!

All of this goodness and I haven't even mentioned the two big singles from last year that were also added to the record.  I know a lot of people aren't necessarily fans of cross-genre vocals, but I really like what Jon "The Revelaytor" brings to the huge radio hit, "All It Takes", with his rapid-fire rap vocals adding a different focal point as the guitars churn beneath his rhymes, with Milton's screams adding another depth level.  Meanwhile, the more hard rock track, "Scratching The Surface" also genre-bends just a bit by dropping straight death vocals into the mix as part of the pre-chorus and bridge sections of this chug-chug-chug rocker that was all over Christian rock radio for the better part of the last year.  To me, it says a lot about Hanson's writing ability, as well as his comfort with who he is as a musician and his understanding of his audience.  The fans of DAV pretty much gobble up whatever he puts out there, and with good reason, as DAV truly delivers with War Zone.  

One of the greatest strengths of the record, outside of the variety of styles, is the production.  War Zone sounds like a big-time project, with excellent production, which is quite a statement when you are talking about a 100%, non-label-backed, independent release.  The different vocal styles are evenly matched, which is often not the case as the "unclean" vocals frequently dominate the mix on other projects...sometimes even label projects!  The guitars have a nice, gritty feel to them, and the drums, regardless of who is playing them, have a very full sound.  There is zero muddiness here, and I was very happy to hear the quality of the production here.

Snag your copy on iTunes or your favorite music outlet!

Rating:  Definitely crank-worthy in all its various forms and fashions!  Crank this one to 8.5 and rest assured that there is likely something everyone will like about War Zone!  Almost guaranteed to be fighting for top indy release of the year on this site, as well as others!

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JODI ESSEX "Irreverent"

(c) 2020 Independent Release

1. Stand Up
2. Soar
3. Irreverent
4. What Is Your Truth?
5. Symphony
6. Fighter
7. Weightless
8. All Right
9. Someone Somewhere
10. Rearview Mirror

Jodi Essex--Lead & Backing Vocals

Jadan Sorensen--Guitars, Bass

Pablo Melgar--Keys

Josh Smith--Strings

Sean Hill--Drums

Jon-Paul Keller--Backing Vocals

Jodi Essex is a newcomer to the Christian rock scene, but she is positioned to make quite a splash when her debut drops later this month (June 26).  Essex brings a clean, but somewhat "sassy" vocal approach to a rock world that is currently dominated by women who are generally much harsher in their stylistic approach.  Classic rock is an easy label to throw at Essex's music, and while it fits to a good degree, there is an undeniable modern quality to the performance and production that gives songs like the album's title cut, "Irreverent", a definite foothold in today's rock world.  While it would not have been my choice as the lead single of the record, "Irreverent" definitely caught the attention of radio and fans, alike, as it launched its way onto multiple Christian rock charts and onto ChristianRock.Net, among other stations.  That "sassy" attitude in Essex's voice comes to the front on "Irreverent", with a bouncy chorus that hooks the listener almost immediately.  Some gritty guitars from Jadan Sorensen (who also plays bass) really set the tone for the track, and Sean Hill's drum work is tight and driving, with neither man becoming a distraction for the main event, which is Essex's performance.  Check out "Irreverent" below...      

To me, "Fighter" would have been my choice for the first single, although I can understand wanting to introduce Essex to a bit broader audience with the first track most people would hear.  "Fighter" is a hard-charging rock number with some great drum work from Hill and searing guitar licks from Sorensen.  On "Fighter", Essex adds a bit of an edge to her vocals that is generally not present on the rest of the material here, and it is for this very reason that I think it was held back as the lead single.  Described in the press release as an "autobiographical song", "Fighter" packs a heck of a wallop, both musically and lyrically, and for my money, this type of song is absolutely in the wheelhouse of Essex, and I would LOVE to hear her tackle an entire album of material such as this!  Definitely my favorite track on the album!

 

My second choice for best song on the album would have to be the opening "dirty" rocker, "Stand Up", which features a gritty guitar intro, a killer bass line threading through the chorus section, and some excellent vocal moments from Essex.  Balancing her approach between the punchiness of the chorus and the the more Benatar-styled approach of the verse sections, Essex showcases a versatility in her vocal approach that not a lot of singers have today.  Sorensen pulls off a catchy guitar solo in this track, as well, and the drums from Hill really drive this track.  Good, good stuff right here!

On "What Is Your Truth?", Essex's smooth vocals carry a confidence that is undeniable, and when I first heard her power her way through the chorus, the first two names that popped into my head were Faith Hill and Martina McBride.  Now, yes, I realize Hill and McBride are a country singers (I spent a decade in country radio in the 90s), but that has more to do with the style of music they choose to perform than it does their vocal approach and delivery.  But the type of powerful, confident delivery style that Hill and McBride utilize regularly is definitely present on "What Is Your Truth?", as well as several other tracks on the record.  Not really a ballad, but definitely not a full-on rocker, "What Is Your Truth?" is the type of track that I think could bring Essex a good deal of crossover appeal to more mainstream Christian pop fans and radio, but without compromising who she is as an artist.  Recently dropped as a single, "What Is Your Truth" seems poised to make an impact on multiple charts.  See if you agree by checking out the video below...

      

If I had any complaints at all about Irreverent, the album, it would be the ballads.  It is not that they are performed poorly, because that is not the case at all.  In my opinion, however, they are too soft for the rest of the record, and too poppy.  "Symphony" finds Essex approaching the track in an almost breathy style on the verses of this largely acoustic song that fails to produce even a single "rock" note in the first couple of minutes, and just when the guitars and drums hit for the bridge section, they disappear almost entirely once again, serving only as a musical backdrop for the last run through the chorus.  Once again, I am really pulled in the direction of a Faith Hill comparison, especially her later 90s/early 2000s material, where she added an epic-ness to some of her songs.  The strings here are a nice touch, but there is just not enough to sink my teeth into here. 

Meanwhile, not even a really cool guitar solo from Sorensen can propel "Weightless" out of the praise & worship-meets-crossover-country track that it slips into.  Again, Essex's vocals are stunning...absolutely breath-taking, really...but the type of music she is working with here betrays the rocker in the black leather jacket on the album's cover.  I have no problem with a ballad, but make it a rock ballad.  Essex has more than enough talent to drive her way through something closer to a power ballad and doesn't need to play it safe with this type of crossover material.  

"All Right" redirects the album back into a more classic rock direction, especially with the big, thundering drum line and the 80s radio rock-styled guitar riff that open the track.  Not a full-throttle track, but more mid-tempo oriented with an AOR hook,  "All Right" sounds like the type of track a band like Berlin, or perhaps the more melodic rock-styled Heart, might have tackled back in the day.  Once again, Sorensen flashes some serious talent on an excellent solo, and the big chorus backing vocals give the track a Foreigner feel that I have to admit to really liking.    

"Someone Somewhere" stays in that retro radio rock territory, but takes a bit more of a Top 40 approach, not wholly unlike some of the material Amy Grant put out on her crossover albums of the 80s and 90s.  In fact, I think the Grant comparison here is pretty much spot on, as "Someone Somewhere" never really rocks, but stays comfortably in that middle-of-the-road pop rock territory that Grant plied with her big albums like Heart In Motion.  The drums are solid, the keys comfortable additions to the guitars, which spend time both in electric and acoustic modes here.  Essex sounds like she is really enjoying herself here and feels what she is singing.

The album closes with another slower number, "Rearview Mirror", and once again, Essex showcases a really strong voice with an ability to run it up or down her range with relative ease.  A bit less Nashville rock than some of the other slower material here, this is a solid song to end on (although I always want to rock!), and Sorensen proves himself to be a big talent on the guitar, with an excellent, soulful approach to the track that really stands strong when surrounded by the quieter style of the song.  The guy can bend the strings, no doubt!

The production here is superb, with Hill doing an excellent job of balancing the instruments on this record and keeping the tracking on the record from bogging down at any one point.  I do wish there were one or two more full-on rock tracks here, but as an introductory record, Irreverent seems geared toward showcasing the full scope of what Essex can do.  The sound is fully professional, despite this being an independent project, and there is enough of an edge on the rock material to grab the attention of most modern Christian rock fans today.  Throw in the fact that there are no fewer than five fully produced videos from this debut album, and it is clear that Essex and her team believe in her...and they should.  There is no shortness of talent here!  No, Essex doesn't employ the harsher vocals styles of a Zahana, Lacey Sturm, or the English sisters from Gold, Frankincense & Myrrh, but she doesn't try to, nor does she need to.  There is enough room in the genre for Essex and her style of guitar-driven rock, so long as she remembers that this is the reason she is here:  to ROCK.  Fairly similar to what I believe about Jenna Parr, a lot of how Essex fairs from here forward is going to depend largely upon what direction she chooses to take her music.  I have no doubt that she will find success in whatever style of music she chooses to perform, I truly hope it is the rock road that she chooses to travel.

Rating:  A very solid record from start to finish, with just a bit too much time spent on slower material.  Rock this at 6.5 and keep an eye out for Essex in the future, as I think she could be on the cusp of something special in her career, regardless of which direction she chooses to go.

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