FIREFLIGHT "Who We Are: The Head and the Heart"

 

(c) 2020 RockFest Records

1. Ready For More
2. Bang Bang
3. Who We Are
4. How To Fly
5. Keep Your Head Up
6. Welcome To The Show
7. Bury The Dead
8. Arrow
9. I Believe You
10. Don't Let Me Go

Dawn Michele--Lead Vocals

Wendy Drennen--Bass, Backing Vocals

Glenn Drennen--Guitars

Justin Cox--Guitars

Adam McMillion--Drums, Percussion

It has been since 2015 that Fireflight released new music, and that last effort, Innova, was a big disappointment to a lot of long-time fans, myself included.  A mish-mash of mostly electronic music with only withering amounts of the modern meldic hard rock that the band had come to be known for, Innova seeemed to be a whimper of an end to a solid career for the band that released their first album, Glam Rok nearly two decades ago.  But, with a shot at a rebirth of sorts on the booming Rockfest Records label, and co-writing and production credits from hot commodity Josiah Prince of Disciple, Fireflight has come roaring back with Who We Are: The Head and the Heart, due out later this month.

Reuniting the original line-up (minus drummer Phee Shorb), Fireflight comes out firing on all cylinders immediately, setting the tone for their most complete, hardest-hitting record in their seven album (and a couple of EPs) career.  Granted, most of their previous releases featured numerous Christian rock radio hits such as "For Those Who Wait", "You Decide", "Desperate", and many others, but never has one of the band's albums been able to sustain my attention from start to finish.  In fact, as great as many of the singles were, I honestly never really connected with an album in its entirety prior to Who We Are.  Even as someone who owns the band's catalog, and who really likes Glam-Rok and 2012's Now, I always felt Fireflight's records would make GREAT EPs, but carried too much filler and, quite frankly, lost me on the majority of their ballads which come off as simply too sugary.  I am happy to state that these issues are simply not the case with Who We Are!

The album kicks off with a build up of electronics and programmed sounds, and I was honestly concerned we were in for Innova II.  But after about 40 seconds of looped effects, Dawn Michele's vocals kick in, the guitars join the mix, and the drums from McMillion kick in, and it is obvious that, at least for the moment, the Fireflight of rock-oriented albums For Those Who Wait and Now has returned.  Dawn's vocals, instantly recognizable as they are, carry a punch and a power they lacked on the last record, dropping the breathy tone she employed on a lot of Innova and returning to her big, sweeping ROCK voice that drove tracks like "Stay Close" and "Stronger Than You Think".  The bass is thick and present here, and the guitars of Cox and Drennen are lively and driving, using the electronic background as a canvas upon which to paint their rhythms and solos.  A mid-tempo rocker, "Ready For More" definitely had me in the mindset the song's title implies, as I was psyched for what was to come next.

"Bang Bang" ups the energy and tempo as Dawn bursts from the speakers after just a single drum strike, and the buzzsaw guitars are off and running.  Once again, yes, there are some programmed electronic elements employed here, but they are role players here rather than the dominating instrument of the track.  The vocals take on an urgent tone throughout the track, and once again the lively bass line from Wendy Drennen throbs incessantly throughout this track.  Again, the guitar tandem of Glenn Drennen and Justin Cox carves its way through the track with a driving heaviness the likes of which Fireflight has only occasionally hinted at in the past.  This is an excellent rocker that I would imagine will be released as a single in the near future.  

Speaking of singles, the title track and lead single, "Who We Are" is up next and is exactly the type of song long-time Fireflight fans have been dreaming their band would grace them with again at some point.  A soft electronic build is present, with an acoustic guitar drifting across the soundscape, only to be interrupted by some sharp drums and a churning rhythm guitar that revs the track into full gear.  Dawn's vocals are in peak form here (and throughout the record, honestly), and the hard-hitting rock track instantly recalls the best singles of the band's past.  Shouted backing vocals, a sing-along chorus, punchy rhythms, and gritty guitar tones...all the ingredients of what made Fireflight one of, if not THE, dominant female-fronted Christian rock bands in the entire scene...are all present in a big way here and are demanding the band be heard!  Don't let their Christian label deter you from giving "Who We Are" a shot, radio programmers, as this is some excellent modern melodic hard rock that should be in your playlist now!  Check out the video below:

"How To Fly" picks right up where the crushing blow of "Who We Are" ends, punching you in the earhole with a thick guitar riff and cellar-dwelling bass (along with some fat...FAT...bottom end synth lines) to drive home a crunchy, mid-tempo riff-rocker.  There's an airy interlude after the second chorus that throws a bit of a curveball into the otherwise straight fastball mix here, but it serves to remind that Fireflight is not a one-trick pony and allows their more melodic side to show through a bit more.  The full-on rock returns after a few moments, however, and "How To Fly" rocks hard through to the finish.

Things take a bit of a downturn, tempo-wise, with "Keep Your Head Up", a track which starts off with a piano and strings intro that builds throughout the first verse, giving way to the full punch of the band on the pre-chorus and chorus sections, only to return again for the second verse.  There is a nice, crunchy section following the second chorus with a vocal bridge that really lets Dawn explore her full vocal range, then the piano returns for a few bars and the final run through the chorus rips through, complete with an outro guitar solo that is packed with soul and emotion.  Not a true ballad, but definitely a more down-tempo track...albeit one packed with a lot of musical power..."Keep Your Head Up" is head-and-shoulders above most of the slower-tempoed tracks of Fireflight's past, at least for me.

My personal favorite tracks hit back-to-back next with "Welcome To The Show" and "Bury The Dead", two great rockers that again showcase the power that Fireflight is capable of delivering while remaining true to who they are.  "Welcome To The Show" incorporates some quirky vocal tricks from Dawn in the way she intones certain words and phrases in the verse sections, utilizing a wicked-yet-playful lilt that entices the listener and pulls their ear forward in ring-master fashion!  There's a frantic, somewhat spoken-word vocal bridge after the second chorus run followed by a chugging stop-start-stop-start guitar section packed with chainsaw snarl and punch, and then a last run through the chorus that also drops some unique electronic elements into the mix.  I hope that this song gets airplay at some point, as  it is both totally unique and totally Fireflight at the same time.  "Bury The Dead", on the other hand, is a straight ahead rock anthem that will likely become an instant must-perform track at any future Fireflight shows.  A big, sing-along chorus really showcases the power that Dawn is able to pour into a song in which she asks herself if she "can move on if I bury the dead", leaving her broken past behind and surrendering to the Truth.  A big, big rocker with driving guitar lines, excellent drum work, and some killer layered backing vocals, "Bury The Dead" is definitely my favorite track for me on Who We Are, and unquestionably top five in Fireflight's catalog; I love this track that much.

"Arrow" is the album's only real ballad moment, and even then I'm not 100% sure I'd use that tag on the track as this isn't "slow dance" material, or anything like that.  Melding the poppier side of Fireflight with Dawn Michele's sweeping vocals, "Arrow" is definitely a sparse song, largely devoid of any crunch or grind from the guitars and with minimal percussion, but one that delivers in a big way for fans that just want to hear Dawn cut loose and carry a song on her back.

Acoustic guitars intro "I Believe You" and carry the track throughout the first verse and chorus break, joined by a string section and the drums about halfway through verse two.  There's a big build coming out of the second verse, with the whole band jumping in and a huge, melodic guitar solo sweeping in over the orchestral arrangement that supports the song at this point.  I really like how this song brings things together at the end, finishing in a place that you might not have guessed it would build to when you hear the first half of the track.  A really good musical piece.

The album closes with a slow-building-to-mid-tempo rock number that has some really nice punch but also maintains a smooth flow, again echoing some of the things Fireflight has done in the past, but doing it better than I remember in most places.  Dawn's vocals are a definite focal point here, especially as she becomes starkly raw, standing free of the band for a brief moment coming out of the final chorus run, allowing emotion to become the driving force behind her words.  While not the rocker one might have been expecting the band to close with, it is still a song of significant power and strength and is one of the defining moments of an album that, to me, is filled with RE-defining moments for the band.  

While not a member of the band, a shout out has to be given to Josiah Prince of Disciple, who is really making a name for himself in the writing and production world.  He brings a cohesiveness to the project that is not always present on previous Fireflight albums, as the songs all work to move from one to the next without sounding like the same song over and over.  The mix is exquisite and the instruments are all exposed to the listener in a way that makes them easy to hear while not dominating the song.  I really like the extra bit of edge that is added to the guitar tones of several tracks here, and having both guitars back in the band again really adds a power that was definitely lacking from Innova.  Lastly, I feel like Prince really drew the best vocal performance from Dawn Michele that I have ever heard on record.  She always had power and presence, but on Who We Are, she adds emotion without relying on breathiness, she adds coyness without becoming cutesie.  To be frank, at times her vocals took on a saccharine sheen on previous records, especially on ballads, that turned me off to a degree.  Not so on this record, not by a stretch.            

If I have any complaints about Who We Are: The Head and the Heart, they really aren't about the music or the band.  But, I do have two complaints, so I am going to air them here.  First...why wasn't the 2018 single, "Die Free", which featured Kevin Young from Disciple on guest vocals, included here, perhaps as a bonus track for pre-orders?  It would have been yet another incentive to help boost pre-sales and would have given us "physical over digital" fans a chance to own the track in a non-CD-R burned format.  My second complaint ties indirectly into my first.  Who We Are is actually being marketed as two stand-alone EPs, with pre-orders being the only way to get them both on one CD.  Now, I totally get the gimmick here, especially since Rockfest boss Joseph Rojas did the exact same thing on the most recent release from his band, Seventh Day Slumber; it is a gimmick to drive pre-sales.  And, again, I get it.  But, and this is just my opinion...which is really why you read this blog if you think about it...the pre-sale packages with the t-shirt, signed poster, sticker, and all that stuff, is likely incentive enough for most people that are going to pre-order anyway.  There's no need to make people pay for two separate EPs that, to be honest, would both be relatively short (both would clock in at roughly 22 minutes each).  Like I said, if you want to make a full-length version that had "Die Free" on it as a pre-order bonus, that's awesome; I'm all for that.  Doing it the two EP route just comes off as a money grab to me.  And maybe it is; I am not privy to Rockfest's financial statements, so maybe this is the cost of doing physical release business now in a digital world.  Regardless, I'm set because I DID pre-order the package because I wanted to help support the band and label and, in all honesty, because I wanted the single CD instead of having to buy two EPs.  (See...I frequently buy the albums I review here, even if I get advance promo copies.  I'm a stand-up guy!)

Regardless of my two little gripes, this is a big-time comeback from Fireflight that shows this band has a lot left in the tank.  The writing is the strongest from start to finish the band has ever put together, the performances are tight and punchy and full of energy, and Prince's production makes what would likely have been a really good project a great one.  It is not a coincidence that I say this is, hands down, the best Fireflight has ever sounded on record and Who We Are: The Head and the Heart is, likewise, the best record that band has ever put out...also hands down.  If you hurry, you may still be able to preorder a copy HERE.

Rating:  A very crankable return for Fireflight, Who We Are is a definite 8.5!  This is excellent stuff!

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GOLD, FRANKINCENSE & MYRRH "Operation Take Over"

 

(c) 2020 Independent Release

1. Bones
2. Selfish
3. I Don't Wanna Lose My Friends
4. S M I L E
5. Taking Over
6. I Don't Need Your Fantasy

Maggie English--Harsh Vocals, Bass

CJ English--Clean Vocals, Guitars

Lulu English--Drums, Backing Vocals

The favorite sister act of modern hard music, Gold, Frankincense & Myrrh (commonly referred to as GFM or GFM Band) return with their third EP in the past two years.  Appropriately titled Operation Take Over, the English sisters continue on their self-appointed mission to do just that, take over, as they unleash six new "Beautycore" songs on their rapid...and rapidly expanding...fan base.  Blending both clean and harsh vocals, huge drums, pulsating bass lines, and aggressive guitars, the sisters continue to carve out a space for themselves in the hard music industry and command more and more attention for themselves not as a novelty sister act, but as a legitimate musical force.

The EP kicks off with "Bones", an aggressive metalcore track that churns and snarls its way out of the gates and never relents!  Maggie's harsh vocals continue to grow in depth and power as she masters control of her voice seemingly with every release.  Complementing the eldest English sister's angry spit-and-snarl vocals are the (by comparison) angelically sweet vocals of CJ, accompanies by backing vocals from Lulu, as they sing their way through the chorus.  To me, the distinctly different vocal styles really set GFM apart from a lot of other bands of the genre.  Sure, most metalcore acts have clean and harsh vocalists, but in no other band do you have that harmonic quality that seems to come from siblings (check out the girls' acoustic EP for even further evidence of this vocal talent).  The guitar riffs from CJ are plenty meaty here, and Lulu continues to be seriously impressive with her work on the kit, growing in leaps and bounds in her ability to create unique and aggressive fills and patterns, not settling on being just the tempo-keeper of the band.  Harsh and aggressive, with a solid breakdown prior to the last runs through the chorus, "Bones" should make an impact at metal radio, both Christian and secular, before this EP runs its course, and it is an excellent table-setter for the rest of the EP.

"Selfish" backs off on the aggression...slightly...as Maggie backs off on her harsh growling for most of the song (she does drop it in in a few places, however), utilizing her slightly lower singing range in the verse portions before her sisters join in on the chorus parts.  CJ's guitars are especially edgy here on this somewhat post-hardcore/modern metal track, maintaining a fuzzy aggression and sharp, snappy rhythms that really push the song.  Maggie's bass has a full, loud voice throughout the track, and Lulu continues to wail away in impressive fashion.  I'm not going to lie, however; I keep waiting for CJ to rip into a fret-running flourish of a solo of pretty much any length, just to add a new depth to the band's sound.  It doesn't have to be some neo-classical, Yngwie Malmsteen fret melter, or an experimental Steve Vai proggy run, but just....something.  I personally think something short and sweet would help the band make that next little jump musically.  But who am I...???

"I Don't Wanna Lost My Friends" is my least favorite track here, but it isn't a bad song.  It just isn't as catchy to my ear and comes off a bit more 90s pop-punk than the rest of the EP.  Gone are Maggie's aggressive vocals, traded in for a poppy sing along chorus, complete with gang-shouted backing vocals, and even some "whoa-oh whoa-oh's" dropped into the mix for good measure.  Again, a special shout out is warranted for Lulu, who really shows an ability to handle multiple types of song structures and percussion patterns, and even if it isn't my favorite track on the EP, the band is really tight here on this bouncy sub-three minute track.

The real treat of the record is up next with "S M I L E".  To my mind, there is no track in the girls' ever-expanding catalog that will generate the excitement in the live setting in the way that this latest single will.  Lulu's snappy drums set the cadence for CJ's saccharine-sweet vocals in a cheerleader chant to

call out "S...M...I.L.E...why won't you smile for me?!" the song kicks off with a crazy fun start before Maggie drops a harsh "GO!" and the guitars swarm to life with thick, chunky riffs and deep, chest-pulsing thuds from the bass as the song melts down into a swirling musical moshpit, even as CJ keeps up her super-cute chant.  As fans know, the girls trademark style frequently utilizes a metal-tinged cheerleader style, and "S M I L E" is the perfect song to accompany that image.  Maggie utilizes both clean singing and harsh snarling on the verse sections, with CJ tackling the majority of the chorus sections.  After the second run through the chorus there's a vocal breakdown with CJ returning to her sugar-coated cheerleader role, this time calling out to ask if everyone is "read-ee" to sing along, only to be chased off by yet another guttural snarl from her older sister.  Again, there is a perfect opportunity for CJ to rip on a quick little solo, but the band instead lays into a crunchy breakdown section, and GFM appears to have come up with their signature song at a relatively early stage in their career, as I don't foresee them being able to sneak out of a live show without dropping this uber-catchy cheerfest into the set!

 

All cuteness evaporates as "Taking Over" is unleashed next.  Maggie is in full-on "shred my vocals" mode as she barks "One, two, three, four...get up and give me more!", and a big, bottom-heavy breakdown section crushes its way through the middle of the track, with Maggie hammering away on her bass and CJ chug-chug-chugging her rhythm lines in hyper aggressive fashion.  Having already climbed to the peak of multiple hard music and metal charts, "Taking Over" shows as much about the heavy half of the GFM sound as "S M I L E" and closing track, "I Don't Need Your Fantasy" showcase the fun side.  "Taking Over" is who GFM is for a good chunk of their catalog, showcasing aggressive musicality and a vocal duality that goes to great lengths to define who the band is.

On that previously mentioned closer, "I Don't Need Your Fantasy", the girls perfectly meld the fun, catchy sing-along style of "S M I L E"...even again bordering on cheering/chanting...but teamed up with Maggie using a higher-pitched, screaming-rather-than-barking style.  The rhythm riffs from CJ are relentless throughout the track, and Lulu's drumming is tight, furious, and machine-gun rapid throughout.  Truly an excellent way to close out a really strong, if too-short release from this very talented young band.

The band brought in some high-powered help on the production here, as Joey Sturgis (Of Mice and Men, Asking Alexandria, The Devil Wears Prada) was called on, along with Billy Decker (Uncle Kracker, Sam Hunt) and Eric Varnell, to fully capture the sound and style that is Gold, Frankincense, and Myrrh.  Thick bottom end work from the bass and drums really shine through on this record, and the guitars keep their aggressive tone without becoming muddied in the mix, and it is nearly impossible to say too much about how the vocals of the three girls are handled and combined on Operation Take Over.

As is typically the case with EPs, one of my main complaints here is the brevity of the project, with these six songs clocking in at not even 19 minutes.  I was a bit surprised the band didn't include the parody track, "Susan", which they released as a stand-alone single earlier this summer, but it wouldn't have really fit the sound and style of the rest of the EP.  And, with no opportunity to tour during this Covid-induced live music moratorium, the band likely had no new live tracks to tag onto the end, so these six new songs are what we were offered.  Fortunately, all six are of high enough quality that many fans won't feel short-changed paying $15 for the physical CD, which they can also request to be signed if they order directly from the band at:  www.theGMFBand.com

Rating:  Definitely a crankable EP, rip the dial up to 7.5, with only the really small time run and the minor miss of "I Don't Wanna Lose My Friends" keeping Operation Take Over out of 8 to 8.5 territory.  A very strong effort from three impressive young ladies!

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DISCIPLE "Love Letter Kill Shot (Deluxe)"

 

(c) 2020 Tooth & Nail Records

1. Cuff The Criminal
2. Reanimate
3. Wake Up
4. Panic Room (Featuring Andrew Schwab of Project 86)
5. Play To Win
6. Fire Away
7. Misery
8. Chemical Wisdom
9. Never Too Late
10. Touch of Pain
11. Walk With Me
12. Best Thing Ever
13. Darkness Dies (New)
14. Enemy (New)
15. Kingdom Come (New)

Kevin Young--Lead Vocals

Josiah Prince--Guitar, Bass, Backing Vocals

Andrew Stanton--Guitars

Joey West--Drums, Backing Vocals

Additional Musicians

Dane Allen--Backing Vocals

Andrew Schwab--Guest Vocals on "Panic Room"

Okay, allow me to rant for just a second.  I LOVE when bands release new music.  Love it.  It is something that I look forward to with great anticipation, whether it is new bands that I am excited to hear from for the first time, or long-established favorites that I get to hear something new from.  It just gets me jacked up thinking about it!  BUT...I hate, and I mean HATE, when bands re-issue an album that isn't even two years old with new material on it (Skillet, I'm looking at you!).  I'm then left with three choices, none of which makes me very happy.  One, I can re-purchase the entire album, and then have to figure out what to do with the original.  Two, I can digitally purchase the new songs and then rip the original CD and burn it again with the new songs included.  Three, I can just live without the music.  Well, option three ain't happening, folks, which really leaves only options one and two, and neither is ideal.  And with Disciple, you only have option two because the three new tracks are only available as digital downloads (which could send me off on an entirely different rant, but I'll let that go for another day).  Why not just hold off until you have two or three more songs, maybe a remix and a live track also, and then drop a physical EP?  I get that with the lack of touring going on bands need to come up with ways to generate an income, and I am more than happy to help out in that arena, but I am still a physical-product guy and I hate being backed into the digital-only corner.  Anyway...rant over...for now....

Disciple has re-released their latest album, Love Letter Kill Shot with three new tracks, much to the excitement of a fairly rabid fanbase.  I have attended a lot of shows from a lot of bands, and I haven't come across many bands that have the devotion that Disciple fans have, which is an awesome thing since Disciple is also a band that gives a lot back to their fans.  It's a truly symbiotic relationship.  As such, I am certain the band is currently selling thousands of downloads of the three new tracks, and probably hundreds of downloads of the new album in its entirety.  Me, I just went with the three new tracks, which I then burned onto a CD with the entire album to make my own "deluxe CD-R" of the album.  According to Joey West on a live Instagram video earlier this summer, there are currently no plans to put out a physical re-issue of the album, although that could change at some point OR, as I mentioned in my rant above, I could see the songs being released at a later point on an EP, similar to what the band did with the Vultures EP a few years ago.  

For the purpose of this particular review, I will only be covering the new songs.  If you want to go back and read my thoughts on the full Love Letter Kill Shot album, just click on the album title and you can check that out. (Hint...I love this record!)  

The first of the three new tracks is, in my opinion, by far the best, and one of my favorite Disciple songs in years...which is saying a lot.  I absolutely love "Darkness Dies"!  Love...it...!  The album kicks off with some electronic elements, but then a big, aggressive drum fill from Joey fires the song into motion, and once the rhythm guitars kick in, things are off and running.  Again, there are some subtle electronic elements running beneath the first verse, which Kevin delivers with a slightly breathy approach, before the pre-chorus hits telling the listener to "put your money where your mouth is, put your faith in what you're doubting, if there's no telling where the Truth is, they why (do) you keep looking?!"  From here, the soaring chorus bursts forth, with Kevin singing, "I'm not a savior, I'm just a man, and I'll let you down if you give me a chance...", imploring people to seek the Light rather than look to man for answers to their struggles in life.  Following the second chorus run there is a breakdown of sorts, and while there is no true guitar solo, the six string work here is top notch and aggressive!  I repeat this song two or three times every time it comes up, no exaggeration.

"Enemies" is up next, and it is, in my opinion, everything "Darkness Dies" is not.  "Enemies" starts off with an angry-sounding Kevin screaming "I only have nightmares when my eyes are open!"  Then a staccato guitar chug-chug-chugs to life, crunching alongside the pounding drums through the verse sections, before a slightly more melodic chorus.  Kevin's angry tone is incorporated throughout the second verse, and those hard-hitting rhythm guitar riffs just reek of anger and aggression in a way that Disciple hasn't really delivered in some time.  Yes, "Panic Room" hits hard on this record, and there are some aggressive tunes on each of the past several albums, but "Enemies" takes that aggression to a new level.  Stop-start electronic effects are added into the mix, and then seemingly out of nowhere a soaring, melodic guitar solo sings out (I'm guessing from Stanton, as it sounds like his style of playing), which leads the track into the final run through the chorus, with Kevin singing "Deliver me from myself", before the final musical flurry closes things out.

"Kingdom Come" closes out the new tracks, and for people who ordered the Love Letter Lockdown internet concert during Covid quarantine this summer have already heard a live version of this track.  To me, "Kingdom Come" is a track that falls in the middle ground between "Darkness Dies" and "Enemies" as far as style of these three new tracks goes.  Still edgy and aggressive, but carrying a melodic tone that "Enemies" really only hints at.  This is a really well-written track, with tempo changes, aggressive rhythm playing, rapid-fire drumming, and a solid bottom end from Prince's bass work, and Kevin reins in his vocals just a bit from the aggressive screaming of "Enemies" but still delivers with plenty of passion.  Not quite as catchy as "Darkness Dies", and not as angry or metallic as "Enemies", 'Kingdome Come" is a bit of both and works very well to close out this deluxe album edition.

Look, I'm not a digital fan, but at only 99 cents a track on Amazon...and available on every streaming and downloading platform that I am aware of...all three are worth downloading and ripping to create your own deluxe version, and the purchase will help out one of the best, most passionate, most fan-friendly bands going in the Christian scene.  Hopefully a track like "Darkness Dies" will get the band some crossover attention with the Octane crowd, and maybe "Enemies" will even find its way onto the Liquid Metal playlist on SiriusXM.  Request these songs (and "Kingdom Come") from your favorite local radio stations and on Christian internet stations to get some love for Disciple to start spreading.  It has worked recently to get some national attention for bands like Seventh Day Slumber, so perhaps Disciple will be next to explode out of the Christian-only market!

Rating:  As an entire package, Love Letter Kill Shot Deluxe edges up slightly to a 9 now!  I truly hope it will be available in true physical form at some point.

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RELENT "Heart Attack"

(c) 2020 Rockfest Records

1. Six Feet Under Me
2. Changed
3. Rise
4. Without You
5. Send A Miracle
6. Addicted
7. Surrendered
8. Low
9. Jesus Freak

Miggy--Vocals

Josh--Guitars

Chris--Guitars

Bruce--Bass

Gaston--Drums

Ah, Nu-Metal.  If there has ever been a more maligned sub-genre of heavy metal, I don't know what it was, and, to a degree, I get it.  Once Korn broke big, bands started to try to take elements of that band's sound and formula and recreate the magic.  The problem was that in doing so, Nu-Metal copied itself so much in the late 90s/early 2000s that it imploded in exactly the same manner that hair metal did in the early 90s.  There was just so little originality left in the genre, and as a result very few bands from that once thriving scene managed to survive.

But, as it says in 2 Corinthians 5:17 (NKJV), "all things have become new" and Nu-Metal has started to re-emerge in the modern hard rock scene, albeit with some much-needed upgrades to production and a more intense focus on quality songwriting (thankfully!).  One of the bands I am expecting big things from in this updated scene is San Antonio's own Relent.  Wait...did I just suggest a new Christian band could make an impact on the current musical scene?  I did, indeed, and there is zero doubt that Relent fits the bill for the style of band that the modern hard music scene is hungry for, and the reissued edition of their debut EP, Heart Attack, is exactly the vehicle to introduce this extremely talented band!  

Recently signed to Rockfest Records, Relent has just dropped the revamped version of Heart Attack, complete with new artwork and two new songs, stretching the EP from seven tracks to a nearly full album of nine songs.  

The album kicks off with a flurry of crunch and grind from the rhythm guitars in that stop-start chugging fashion so many of the 90s heavy rock bands used, accompanied by a bit more bass than a lot of people may be expecting.  The drums are hard-hitting as well, and from the get go it is evident Relent is out to do something most bands are not doing today with their style and sound.  Miggy's vocals are going to draw a huge amount of attention throughout the record, as there is a definite style similarity to that of Lajon Witherspoon from Sevendust, most of which is derived from the soulful delivery utilized, as well as the ability to both add and subtract a gritty edge when the song calls for it.  From the first note he sang, it was obvious to me that Miggy was going to be a big draw for me with Relent.  

Anyone who says they don't hear bits of Korn in the next track, "Changed", has likely never actually heard 90s-era Korn.  The spoke rap section that intros the song just reeks of something that Jonathan Davis would work into a song, and Miggy absolutely nails the delivery here!  The bass is thick and rumbling beneath the entire track, and the quirky rhythm guitar line here is top shelf stuff!  There are some swirling lead guitars thrown into the discordant mix here and a sick breakdown, just for good measure!  A song about true change from within, "Changed" is blistering nu-metal track that has a little bit of everything good about that style, along with some more modern elements...especially in the production...to update the sound in great fashion.  Definitely one of my favorites here.

While "Low" is the current single (more on that in a bit), I think "Rise" has to be strongly considered for the next track to impact radio.  Once again, while the music is perfectly filled with chugging riffs and thundering drums, it is Miggy that steals the show with his vocal prowess.  Bordering on rap-styled vocals on the second verse, Miggy also delivers that Sevendust-inspired, edge-laden crooning style that just demands to be listened to!  Another excellent track to start the record that will likely have most listeners completely hooked by now.

Miggy is likely at his most aggressive on the next track, "Without You", as his aggro-vocals take on an almost bestial snarl in places, especially when ripping through the words "why?!" and "try" on the pre-chorus sections.   A song asking Christ "where would I be without You?", this is a perfect example of the band not watering down their faith in the lyrics and also remaining just as uncompromising in the aggression of the track's music and performance.

Introduced by Miggy singing the song's title in acapella fashion, "Send A Miracle" features the most punishing breakdown of the record, with Miggy imploring the band to hit the listeners with a "Faith Bomb" multiple times, and this track is pure Sevendust...and God...worship, which I dig in a big way!  Truly excellent stuff on this track that I find myself hitting repeat on numerous times when it comes up.

"Addicted" is another track that I believe has single written all over it.  Featuring some computer-enhanced synth vocals along with a rap section and yet another brutal breakdown, "Addicted" should be all over both Christian and secular modern rock stations the second it is released.

"Surrendered" finds Miggy singing that "on my knees I find my place, at Your feet I give You praise" as he tells a personal tale of surrendering to his Creator, with the most metallic rhythm riffing of the record accompanying him.  Pure intensity fuels the verse sections of this punishing track, while a more melodic approach is used in the choruses, with Miggy again adopting a Witherspoon approach to his soaring, power-filled approach to singing.  Some electronic elements fill in what musical gaps may exist in this dense song, and I would anticipate metal stations may snap this song up even if it is never dropped as a single.    

The last two tracks here are the new additions to Heart Attack.  "Low" is the current single and it has been blasting its way across multiple playlists and charts, Christian and secular alike, garnering airplay on terrestrial radio stations, as well as Octane on the satellite, and TheBlast.FM and ChristianHardRock.Net on the Web!  Tackling depression and addiction, "Low" has enjoyed a huge amount of success at Christian radio, and has also crossed over to Octane on SiriusXM.  Heck, it has even been re-released in Spanish form.  With a big bottom end, both clean and aggro vocals, and some serious crunch to the guitars, "Low" is a great indicator of what to expect from Relent and the rest of the Heart Attack release.

The album rounds out with an interesting song choice, as the band tackles one of the more popular Christian hard rock tracks of the past couple of decades in DC Talk's "Jesus Freak".  Let's be honest; deciding to take on a track with that much popularity takes a level of confidence a lot of bands don't possess...and rightfully so!  Relent, however, not only takes the track on headfirst, they aren't afraid to experiment a bit and make the track their own.  For starters, the Relent version is noticeably heavier and down-tuned, bringing out an angrier, darker tone.  The bass is aggressive here, and the guitars have a bottom-end crunch that wasn't present in the 90's hard-edged alt rock style that DC Talk utilized.  Another thing that will immediately catch people is the slight change in the delivery of the lyrics in the chorus.  So catchy and so sing-along is the song that people are invariably going to jump in and join the band, but when Miggy stretches the word "they" a bit, everyone that is singing along will already be onto the word "hear" already.  I know I was!   There are a couple of other minor differences here and there, but not to the point the song is unrecognizable and fans of the DC Talk version will likely enjoy this take, as well, though there is no doubt that Relent's version is definitely the heavier, more aggressive version by a good stretch.   

As much as I hate it when people say, "such and such band is the Christian version of so-and-so", it is going to be very obvious that Relent is heavily influenced by my favorite Nu-Metal band, Sevendust, and elements of P.O.D., Pillar, and even a little bit of Korn filter through the mix.  Never, however, do you feel like you are listening to a knock-off band, however, as Relent is a band all their own, with an approach that will have fans instantly fist-pounding and head-banging along!  To drop a likely over-used pun, Relent is absolutely relentless in their approach, both musically and lyrically, leaving no doubt as to what they are about.  

Rating:  Oh so crankable...and so difficult to pry out of my player!  Crank that dial to 9!

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RED JUMPSUIT APPARATUS "The Emergency EP"

 (c) 2020 A+R Productions/CMG

1. Brace Yourself
2. A Long Time Ago In A Galaxy Called LA
3. Don't Buy Into It
4. Is This The Real World?
5. Stuck On Repeat
6. Please, Unfriend Me

Ronnie Winter--Lead Vocals, Acoustic Guitar

Josh Burke--Lead Guitar

Randy Winter--Rhythm Guitar, Backing Vocals

Joey Westwood--Bass

Danny Resnick--Keys, Backing Vocals

John Espy--Drums

I will be the first to admit I have always kind of avoided Red Jumpsuit Apparatus purely based on the name.  I mean...what the what?!  And I know that's terrible of me, because an attitude like that has probably prevented me from hearing dozens of bands that I really would have loved.  As I have gotten older, I have been ignoring that inner-urge to discard a band based solely upon its name, and I gave the new RJA release, The Emergency EP a shot.  What I got was both surprising...not surprising...and in one instance downright shocking.

What surprised me was just how great this band is musically.  Honestly, I would never have predicted the intensity of the drums, the talent of the twin guitar players, or the near-perfectly executed placement of the keys in a position of support rather than out front (which we all annoys the metalhead in me!).  The guitar solos here are melodic, if not overly elaborate, and the interplay between Burke and Randy Winter is excellent, with some really strong rhythm guitar work driving several of the songs here, with "Stuck On Repeat" coming instantly to mind.  The backing vocals are also spot-on throughout this EP, which really help to support Ronnie's lead vocal approach.  And the songwriting for most of the record is equally strong, leading me to wonder why I hadn't checked out this band before...other than the name...or really heard much from them on radio, satellite or terrestrial.

This brings me to what didn't shock me...at all...which is the relatively emo-style of vocal delivery that I got from Ronnie Winter on about 2/3 of the record.  There are moments on the EP where he allows an angry edge to creep into his vocals ("Don't Buy Into It" has some of these moments, to be sure), and it is at those times that I find myself really cheering for more of the same.  Alas, it typically doesn't last very long, although "Stuck On Repeat" (easily my favorite track here) has less emo drone to the vocal approach, and "Brace Yourself" manages to work around a few weak spots to also be a top-of-the-heap track for me.    

Lyrically, the band doesn't make any bold pronouncements of faith on the EP, but they spend a lot of time on social issues, and steer themselves into some controversial territory with "Don't Buy Into It", a song that could find the band alienating some of their more conservative fans.  In the very first verse, the band addresses the transgender issue as Winter sings about meeting a boy dressed as a girl whom people (presumably Christians) have told will burn in hell for his/her gender decisions.  The song also references the building of the wall between the United States and Mexico, to which Winter encourages "I say build it up so we can tear it down!" on multiple occasions, and he sings in the chorus, "Fear leads to anger to hate," seeming to indicate that anyone who stands opposite Winter's (and presumably the band's) views on illegal immigration are "fearful" and "hateful".  The press release for the album states, "As a Christian, Winter's prism of the religion is far more inclusive than what the gatekeepers preach," with Winter himself being quoted as saying, "These are things that really bother me--with this EP I'm bringing fans to the next level."  The "things" he is speaking of are LGBTQIA+ issues and the Black Lives Matter movement.  While there is growing support in many Christian communities for the LGBTQIA+ issues, hitching one's wagon to BLM is a dangerous move, in my estimation, as I don't know of very many groups...and NO Christian groups...who advocate the wanton vandalism, property destruction, assault, and even murder that have become hallmarks of that group, and for Red Jumpsuit Apparatus's lead vocalist to state his backing of the movement is going to be a BIG "off switch" for many people.  

The band proves elsewhere that they can focus on positivity without becoming controversial.  On the  track, "Is This The Real World?" the band does a far better job of interjecting thought into social issues as they as they encourage people to seek truth rather than simply believing what they read and hear on-line and from the media.  Album opener, "Brace Yourself" has become something of an anthem for First Responders and Emergency Support Workers, with a portion of the sales from the single actually going to benefit families of these extremely important people.  Check out that track below:

For me, five of the six songs here are of above average quality, and all are up-tempo, which helps drive the EP home in relatively quick fashion.  The musicianship, as I mentioned before, is of a surprisingly high level, and I have to admit to being very surprised when I read that all of the songs except closer, "Please, Unfriend Me" were actually written and recorded in the back of the band's tour bus while on the road last year.  As to "Please, Unfriend Me", that track was recorded using technology while the band members were in Covid lockdown earlier this spring.  The best tracks are bunched at the end, with "Stuck On Repeat" and "Is This The Real World" being the biggest winners of the bunch, with "Brace Yourself" the top choice of my 8 year old, who seems to sing it non-stop.  I also enjoy "Please, Unfriend Me" quite a bit, as well.  "Don't Buy Into It" isn't a horrible song musically...not by a long stretch...but I just can't get behind the "think my way" political agenda that Winter seems to be aiming at band fans that don't see things through the same lens as he does.  As to "A Long Time Ago in a Galaxy Called LA", while it isn't a terrible song, I just don't feel it...at all.  Seemingly a love story (perhaps Ronnie Winter and his wife's story?), the song is just too cheesy for me and I honestly skip it just about every time I have a free finger while driving down the road.  

All in all, I was impressed with the band's talent and the catchiness of the majority of the songs here.  I do wish we had a bit more solo work from Burke whose guitar has a definite melodic quality to it that I really enjoyed, and I would love to hear more bite and edge from Winter's lead vocals, but I'm pretty happy with my introduction to the band.  I may even seek out the band's previous efforts, some of which I have been told has more hardcore and punk influences, and I will definitely keep an eye and ear out for future releases.  That being said, if the band becomes more political and starts to swerve into social justice warrior territory more and more, I highly doubt they will find a fan in me, as there is plenty of that to be found in both mainstream and social media, so I don't need it in my musical choices.  

Rating:  Rock this at 6.5.  Musically, I'd give it a 7.5, but the EP's brevity, the band's politics, and Winter's emo vocals in several spots do some damage to my introduction to an obviously musically talented band.

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RAVINER "Drown" single

 

(c) 2020 Independent

Kamber Kigin--Vocals, Keys

Jon Wisecarver--Guitars

Colt Capperune--Bass, Programming, Additional Guitars, Production

Rob Shollenberger--Drums

With the pandemic putting the brakes on a lot of music-related activities this summer, a number of new and lesser-known acts have started to bubble up on different platforms as radio stations and internet platforms have been bolstering their playlists to accommodate listener's thirst for more music.  Because of this, I have come across several new bands, as well.  One such band for me is Raviner.

Raviner is a new band to my ears, but this Tennessee group has actually been putting out music since 2016, with their last long-form release being the Beast EP in 2017.  Following a brief hiatus, the band reformed to begin work on a new EP which will include the lead single, "Drown".  Featuring powerful female vocals, nice edgy, crunchy guitars, rock-steady drums, and just enough modern programming effects, "Drown" is an excellent introduction to this new band.  And while the smooth rocker should find a lot of success on modern rock formats, Christian or secular, there is also a uniqueness to Raviner's sound that should help them to stand out from the crowd.  That uniqueness comes largely from the soaring vocals of Kigin.  As I have lamented numerous times, there is a distinct lack of true female singers in the Christian rock genre (although there is an ever-growing number of highly talented female screamers and snarlers!), but that short list gains a new member with Kigin, who I feel compares very favorably with Dawn Michele from Fireflight and with Deena Jakoub of Veridia.  In fact, those two bands are also good comparisons for people seeking a sound comparison, especially the later, more synth-oriented material from Fireflight.  

On "Drown", a powerful song about dealing with individual struggle and turbulent times without allowing oneself to go under and succumb to the darkness of the time, Kigin maintains a powerful grip on her range, staying comfortably in the middle of her range but with plenty of inflection and nuance.  The guitars from Wisecarver carry a nice level of aggression to counter Kigin's melodic vocal offering, and Shollenberger's drums have a big, full sound, not coming off as flat like so many drums do today.  Shollenberger's patterns and fills are strong, especially on the breakdown section coming out of the second chorus, where the drums and bass combine to generate a lot of power and thump which runs counter to the atmospheric programming that runs throughout the track.  Also of note is the production, which I find to be really strong, especially when the independent nature of this record is taken into consideration.  Capperune gives plenty of room for each instrument to breathe here, and offers up some solid bass work, as well.  

Check out the track below...

If you are into this type of dark, electronic-edged modern rock with an uplifting message of hope, I strongly suggest you seek this band out, as there is a lot of talent and potential here!  I am anxious to check out the new EP, which was apparently stalled by the Covid situation.  "Drown" can be found on your favorite platform here:  http://smarturl.it/rvnr.drown/ and you can also snag their previous EP, Beast, at this location: http://smarturl.it/rvnr.beast

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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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GOLD, FRANKINCENSE, AND MYRRH "GFM's Acoustic EP"

(c) 2019 Independent Release

1. On The Inside
2. Graveyard of Identities
3. Twisted Humanity
4. Give Me A Sign

CJ English--Vocals, Guitar

Maggie English--Bass, Vocals

Lulu English--Drums, Percussion, Vocals

Okay, for the most part, this whole stripped-down acoustic thing has run its course.  For the most part, all the listener is given is an EP or album filled with unplugged renditions of songs that the artist thinks they can safely pull off with very little thought or effort put into changing things up or putting consideration into how previously heavy material is going to come across in the acoustic setting.  But all of those things are "for the most part".  They are not the way Gold, Frankincense, and Myrrh do things, thankfully.

The normally heavy, aggressive, often-harshly screamed music of GFM has been dumped on its head by the English sisters, and the result is a fabulously delicious mess.  Of particular note is the strength of the girls as musicians.  Acoustic music typically exposes weaknesses, in my experience, as you can't disguise a flub with more distortion or volume.  And, there are a few such flubs here, and the girls just blow through them.  For example, the lead vocals on "Graveyard Of Identities" stretch a bit too far in the second verse and come a bit off key at one point, but the girls just seem to shrug it off, seemingly owning their imperfections, and move on.  Musically, the skill exhibited by both CJ and Maggie on their stringed instruments is impressive, and hearing the girls all sing in clean vocals and HARMONIZE so well is a real treat.  I also really like the alternative percussion used by Lulu on a track like "Twisted Humanity" or "Give Me A Sign", both songs where she employs either congas, or perhaps tunable bongos, to deliver a rich tone that fits so well with the string work from her older sisters.

Perhaps even more impressive to me is the rearrangement of these songs.  All four are tracks that have been released as singles at some point, so most listeners are already familiar with what they are hearing.  With that familiarity, there is often a tendency to stay safe and not challenge either the performers or the listeners to be open to something different.  That is NOT the case here, as all four songs have been reworked, with "Give Me A Sign" being particularly impressive to me.  The changes in vocal pitches, the way the backing "whoas" are still incorporated, but in a more haunting way, and the gentle incorporation of some piano (not sure who is playing that), really alters a song that is really aggressive in its usual form.  In all honesty, all four of these tracks are actually uptempo numbers and not songs that most bands would have chosen to rework, as there is a lot of change that was required to put these songs together in this new fashion.  Most bands would have played it safe with ballads, or at least more down-tempo numbers.  Not so with GFM.  Color me impressed.

I have no way of knowing if these were done "live", or if they were all recorded in multiple takes over multiple sessions, but it matters little in the end.  The musical maturity shown by these three young ladies is worth noting, and GFM continues to prove that they are so much more than just a sister novelty act.  GFM is an act that deserves to be paid attention to, and they seemingly command that attention more with each release, including this little 4 song EP.  I genuinely hope that another acoustic effort is offered up by the girls at some point in the not-so-distant future, especially if it is anywhere near as good as this one. 

Rating:  It's an EP, it's acoustic, but it cranks!  Spin 'er up to 8!

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