BAYLESS "Ready.Aim."

(c) 2019 Independent Release

1. Ready.Aim.
2. My Declaration
3. Save The World
4. Game Over (featuring Justin Forshaw)
5. No More Suffering
6. Intermission

Jared Bayless--Lead Vocals, Lead Guitar

Vanessa Bayless--Lead Vocals, Keys, Programming

Additional Musicians

Justin Forshaw--Guitar Solo on 4

Wow.  Just...wow.

Rarely am I blown away by a band from the get-go, but Bayless accomplishes this rarity with their 2019 effort, Ready.Aim.  The husband and wife duo from Cheyenne, WY perfectly marries heavy guitars, symphonic string sections, and electronic elements, and both clean and harsh male vocals and soaring female lead vocals to create a musical tapestry the likes of which I cannot say I have ever truly heard before.  Whether Jared is utilizing his powerful baritone vocals in a rich singing tone, or snarling through harsh accompanying lines to support his wife's equally powerful, at times operatic voice, the vocal combinations here change from song to song...sometimes utilizing all three vocal styles within one track...to vocally match the intricate musical creations Bayless brings to bear on this effort.

The album kicks off with the title track, and it is immediately evident that Bayless is not just another symphonic metal band.  Vanessa handles the majority of the lead vocals on this particular track, showcasing a powerful range throughout the verses, with Jared adding his clean tones to the chorus, only adding in a bit of edge when he challenges "I'm coming for you darkness" referring to humanity's sinful nature, threatening to "take back what you stole".  Heavy guitars open the track, supported by what sound to be programmed drums and some electronic elements support the sweeping vocals, and hints of Evanescence creep forward, especially when the strings join the musical fray following the second chorus.  There's a musical buildup leading to a vocal bridge from Jared who snarls, "I'm running to the monster!  Ready, aim!"

"My Declaration" is the lead single from the record, and went straight to number one on several Christian rock and hard music charts.  Vanessa takes a lead vocal break from this track, with Jared contributing both clean and harsh vocals on this huge rocker.  Electronic elements are dropped all over this song, but as supporting pieces and not to the point that this becomes full-blown electronica.  The guitars are heavy and edgy, and Jared's voice simply owns the track.  In fact, it was this song, and specifically the vocals that drew me to hunt down this band and this EP, and I am glad that they did.  This is truly powerful stuff here.  Lyrically, it doesn't get much bolder than "My Declaration", with Jared proclaiming "I'll put my faith in who created me" before the chorus declares:  "I want to lead courageously, Leave a legacy/I wanna surrender myself./Faith awakening, Live for eternity/I'll stand with no ovation.  This is my declaration!"  I particularly like when Jared cuts loose on his vocals as he screams "Gonna face my demons, For I know that they will come/They'll here me screaming, 'The end of you has come!'"  The anger and coviction he delivers the chorus with is especially powerful, especially as Vanessa's offset the growl to add a depth and richness that simply isn't matched by a lot of bands today, as so many bands have taken on similar vocal styles now, at least in the modern rock genre.

"Save The World" is a more mid-tempo rocker with some obvious programmed lines running alongside the heavy buzzsaw rhythm guitars and some delicate keyboards.  While not quite industrial, there are some obvious influences from the genre here, and it works to great effect.  Jared and Vanessa share the lead vocals on this one, with Jared handling the majority of the chorus and Vanessa soaring through the verses.  There is a nice piano and strings interlude in the track, with just Vanessa singing for a couple of phrases before the guitars and drums return, bringing back Jared's rich singing style.  One interesting thing here is the unusual way Jared pronounces the way "proclaim", which comes out sounding more like pro-CLAY-eem the name.  At first, I was like...what the heck?  But after several listens, I have to be honest and admit that I sing along in the same way now.

"Game Over" is again largely a song with Vanessa handling the verse sections and Jared tackling the chorus portions.  Vanessa shows remarkable vocal control here, utilizing an almost operatic approach to the phrasing of the verses, and to say she is impressive would be an understatement.  There is an odd synth solo where one would usually expect the guitar solo to come slamming in, but fear not, for the guitar solo does drop, but as a final run-out at the end of the song.  Justin Forshaw, who handled the production on the record, tears his way through a complex guitar run that flashes more than he typically shows when he is ripping up the strings for his band, As We Ascend.

"No More Suffering" is another powerful hard rocker with a potent message, proclaiming "One day there'll be no more suffering/One day there'll be rest for me/But not today!", and the layered vocals on this chorus line, with Jared and Vanessa's voices paired together so perfectly, really adds an emotional depth.  This is the second single from the album, with it already cracking the top 25 of a few charts I've looked at.  Fighting for the title of favorite song on the album ("My Declaration" might win by a nose...), the song breaks down into a beautiful string section, with the two vocalists almost singing in a chorale style as they echo each other as the song concludes.  Again, the guitars are plenty heavy here, and the drums, while programmed, provide a solid rhythm line for the duo to perform their vocal acrobatics across.

"Intermission" is basically an all instrumental piece that concludes the album, so the name is rather odd.  There is some Gregorian-styled chanting at the beginning, but it is placed low enough in the mix that I can't make out what is being said, and other than Jared adding his voice as an instrument near the end (he's not singing actual words), this is song of pretty much all strings, piano, drums, and guitar, with some programmed elements shaking things up just a tad in places.

Forshaw handles the production on this album, and he deserves a good deal of credit for resisting the temptation to take things too far...in any direction.  While some may have considered burying the programmed elements further in the mix, I feel they provide an important support structure throughout this record.  And while many people would have been inclined to push the strings even further out front, the dynamics of the record would have been changed dramtically and much of the heaviness lost.  There is a near perfect mix of heavy, edgy guitars and smoother, more polished keyboards and strings, which mirror the different vocal styles incoporated throughout the five main tracks here.  My one hope for the band would be to add a drummer to the mix for the next album, as I feel that big drum sound would only serve to enhance an already remarkable sound!

Make no mistake, this is heavy stuff, both musically and lyrically, but the faint of heart need not fear Bayless, as there is also a melodic beauty and accessibility that can be enjoyed by most any fan of hard music.  This mini-album is an essential listen for 2019 and is one that people seeking something new and fresh should hunt down immediately.  I plan to track down the project's first two releases, as well, as Bayless has made that great of an impact upon me.

Rating:  9/10

Return to Reviews Index

MANAFEST "This Is Not The End"

(c) 2019 Manafest Productions

1. This Is Not The End
2. All Time High
3. Kamikaze
4. Wake Me Up
5. Plan For Me (featuring Melanie Greenwood)
6. Born For This (featuring Max Manon)
7. Come Back Home (featuring Trevon Mcnevan)
8. Grenades
9. Insomnia
10. I Made It

Chris Greenwood (Manafest)--Vocals

Christian rap/rock artist Manafest returns with his first album of new material since 2017's surprisingly good Stoneshttps://positiverockreview.blogspot.com/2017/08/manafest-stones.html record.  The former skateboarder from Ontario, Canada is quite a dynamic force in both the Christian rock and rap scenes, with ten studio albums, a remix album, and a live record to his credit, multiple Dove Award nominations, Juno and GMA Canada Covenant Awards and nominations, as well as several charting singles both on the Christian rock and Christian rap charts.  In 2015, Manafest decided to leave his label, BEC Recordings, and enter the independent music scene, where he has found possibly his greatest success as an artist.      

For the life of me, I cannot find any credit for who played what instruments on this record, and that is a shame because there is some really good guitar work in several spots here.  I have to wonder if Adam Messinger is not responsible for at least some of the music here, as he has performed a lot of the instrumentation for Manafest in the past, although on Stones a lot of guest musicians were brought in.  What I can tell you is that Manafest again turns to his friends for assistance on some of the better tracks on the record, with Thousand Foot Krutch's Trevor Mcnevan, a frequent contributor to the Manafest catalog, again lending a hand, as does the album's producer, Doug Weier.  Mcnevan's vocals are easy to pick out on the soulful chorus section of the quasi-ballad, "Come Back Home".  Programmed drums and speedy, rhythmic raps are in full force here over a bed of electric piano, but as a package, the track works well.  

Speaking of Mcnevan, he also lends his pen to the writing of the three hardest rockers on the album, the excellent "Grenades", the gritty "Born For This", and the punchy "Kamikaze".  All three tracks feature some solid guitar work, with "Grenades" really hitting hard on the rhythm guitars and what sound like live (rather than programmed) drums.  A song about letting go of grudges, "Grenades" combines some atmospheric elements under the verse sections, with the pre-chorus and chorus portions both supported by those edgy guitars I mentioned.  "Born For This" is another rocking tune that gets a solid boost from the cool vocal contributions of Max Manon.  I have no idea who the guy is, but his voice really adds to the chorus sections of this song with a vocal style that is both gritty and soulful at the same time.  And "Kamikaze" is another solid modern rock song that finds Manafest using a bit more of a singing vocal style for parts of the verses and then on the pre-chorus sections, with a more aggressive style utilized on the verses.  There is still some snappy, rapid fire rapping going on in parts of the verses, so Greenwood really showcases the full range of his vocal styles all in one track.

Mcnevan also co-wrote the very emotional and poignant anti-abortion song, "Plan For Me".  The first verse of the song finds the father of an aborted child addressing his son or daughter, explaining the pain and regret that he has been living with since he and the child's mother decided to terminate their pregnancy.  The second verse is a response from the child trying to console her father (we learn the child would have been a "baby girl...[with] brown eyes and golden curls"), telling him that she forgives him, still loves him, and that he needs to let go of his grief and pain.  Then, in a spoken interlude before the final run through the gut-wrenching chorus (more on that in a minute), the child tells her father that he can't "let the past shape your future" and that "God's already forgiven you, if you can just find the strength [to] forgive yourself", concluding "I love ya and I'll see you up here soon".  The chorus features the hauntingly beautiful voice of "Mrs. Manafest", as Greenwood's wife, Melanie, is heard on an album for the first time.  The quality of her voice only adds to the powerful message of the chorus, which echoes: 

"I was never unplanned (unplanned, unplanned)/It was not your plan for me/I was never unplanned (unplanned, unplanned)/I'm right where I'm supposed to be./I was never unplanned (unplanned, unplanned)/I never left Your hands/Never left Your plan."

While I'm sure there are a lot of pro-choice people who will dismiss the song's message as being meaningless and just anti-women's-rights rubbish, there will also likely be a segment of the pro-life crowd who crow that the song's message is too forgiving of the father (and likely mother) and their decision to abort their child.  Both camps miss the point, in my estimation, as this is a song about pain, grief, heartache, loss, forgiveness, and hope for redemption at some point, along with a reconciliation in Heaven for the shattered family.  Don't quickly look past the point in the chorus that finds the child stating she was never unplanned, at least by God.  I am not ashamed to admit that this song has brought me to tears on more than one occasion and moves me every time I hear it.  Tuly a powerful message here, but sadly one that I think people on both sides of the abortion debate will dismiss.  Oh...and the child singing, "You are my sunshine, my only sunshine..." at the end is a nice gut-punch ending.  I have to wonder if this was performed by Greenwood's daughter, London, although I have no idea how old she is and there is no written indication that this is her.  

The other stand-out tracks for me are the album's opener and title track (also co-written by Mcnevan) and the closing track, "I Made It", which are both positive, uplifting rock tracks with catchy, sing-along choruses that both of my kids picked up on almost immediately.  

Not everything here really resonates with me.  "All Time High" feels like a Drake-styled track, musically, with Greenwood providing the vocals.  The music is all programmed and electronic, and the song is just too...synthetic...for me.  "Wake Me Up", while featuring some melodic guitar lines, is just too poppy and saccharine with it's electronically enhanced "Whoa-oh-oh's" and programmed handclaps.  And "Insomnia" sounds like the darker musical echo of "Wake Me Up", again featuing some electronically embelished "whoa-oh-ohs" and electronic drums, but with a much more down-tempo pace and darker tone...not to mention the desire to go to sleep rather than the call to be awakend.  Intentional?  No idea, but it is an interesting point/counterpoint, even if the music isn't really my style.

Ryan Clark of Demon Hunter is credited in the liner notes for "the sick artwork", which I assume refers to the cover art and the artwork on the 2-sided, 9 panel insert.  The digipack artwork features  red and black enhanced photo of Greenwood, along with a stylized "M" on the interior.

As with Stones, I am not going to say I absolutely love every aspect of this record, because the electronic hip hop that is employed on tracks like "All Time High" and "Insomnia" is just not my thing.  But I would be lying if I said I don't really like a lot of this record, accepting it for the style of modern rap/rock hybrid that it is.  I realize not everyone will be able to musically tune into what Manafest is doing here, and that's okay.  But for those that are open to various styles of modern rock, especially younger audiences that are accustomed to genre-blurring artists, Manafest is likely to strike a musical chord.  My 12 year old LOVES Manafest, and my 7 year old regularly sings along to this album already, and both of them are also fans of MUCH harder/heavier music than is supplied here, so obviously Greenwood is doing something right.

Rating:  7/10

Back To Reviews Index

DISCIPLE "Love Letter Kill Shot"

(c) 2019 Tooth & Nail Records

1. Cuff The Criminal
2. Reanimate
3. Wake Up
4. Panic Room (Featuring Andrew Schwab)
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

Kevin Young--Lead Vocals

Josiah Prince--Lead Guitars, Bass, Backing Vocals

Andrew Stanton--Guitars

Joey West--Drums, Backing Vocals

For the past three releases (Attack, Long Live The Rebels and the Vultures EP), Disciple had been going the fully independent route, utilizing crowd funding and massive on-line campaigns to get their music to the people.  For their latest offereing, Love Letter Kill Shot, Disciple has gone the more traditional label route, signing to one of the biggest Christian rock labels out there, Tooth & Nail.  I had heard some grumbling from fans, as many feared Disciple would be forced to alter their sound to fit the vision of the people at Tooth & Nail, and the release of the first two singles, "Cuff The Criminal" and "Reanimate" probably did little to allay anone's fears.  However, I am here to tell you that those fears are very quickly laid to rest.  If anything, Disciple has come out harder and heavier than they have in some time.  Love Letter Kill Shot is a perfect blending of the more radio-friendly hard rock of Attack and ...Rebels, while incorporating the more aggressive, heavier sounds of Horshoes & Hand Grenades, Southern Hospitality, or even older material such as By God.

Now, I understand people being a little skittsh about the previously mentioned singles if they were expecting songs in the vein of "Erase", "Long Live The Rebels" or "Dear X", because "Cuff The Criminal" and "Reanimate", which are the opening two tracks of the new record, certainly don't fit those molds.  "Cuff The Criminal" is an experimental, progressive hard rocker complete with effects on the vocals and a stop-start rhythm that probably threw the radio rockers for a loop.  And then "Reanimate" came out and punched those same fans square in the mouth, leaving that metallic, bloody taste behind, as this is truly one of the heaviest tracks Disciple has put out in more than a decade.  Ferocious guitars, crushing drums, harshly snarled vocals, and more speed than anything since "The Name", from Attack.  And if you were fortunate enough to hear these two tracks in the live setting (which my family was), then you had an even better understanding of just how different these tracks were from so much of their extensive catalog.  But if you really listened, it was evident that at the core, this is still very much Disciple.

Once you get past those two tracks, Love Letter Kill Shot starts to feel a little more familiar...at least briefly.  "Wake Up" is a modern hard rock track that feels like it could have slid onto ...Rebels with very little difficulty or modification.  But then, just when the listener is finding their comfort zone, they are slammed into the "Panic Room", which is a contender for song of the year in my book!  "Panic Room" starts off with a quirky interview between a psychiatrist and his patient, in which the woman tells her doctor she can hear voices in her head.  From there, the guitars absolutely explode in a fast and furious intro, then as suddenly back clear off to a more subdued, rhythmic track, complete with fingersnaps, for Young to layer the verses over.  And then, just before the chorus, Young admits to the listener "sometimes I scare myself"...and then BOOM!  Sheer aggression in vocal form blast forth in the form of Andrew Schwab of Project 86 as he bellows forth "I try to lock these thoughts inside a tomb, But it ends up being my panic room!  When the demons start digging up skeletons, The ghosts leave me with nowhere to run!", while Stanton and Prince absolutely shred their guitars.  A second creepy verse, a second chorus explosion, then a false ending with a blistering guitar solo threatens to blow my speakers!  At this point, a haunted house piano is added to the verse section, as Young adds even more creepiness to his vocals, before returning to his "sometimes I scare myself" pre-chorus, this time sounding like it is screamed through a wall of static, and then a final torture session with Schwab burns the song to the ground.  Simply amazing stuff from start to finish, and I simply can't make it past this song without hitting repeat at least once...usually two or three times.

"Play To Win" sounds a bit more in line with recent Disciple, except the guitar solo is more aggressive than most of the things they have done over the past three releases, and Young likely had to take a break in recording after this one, as I assume his vocal chords may have been shredded.  

"Fire Away" is also going to be more comfortable for a lot of people musically, although the subject matter may not be.  Incorporating the album title, the song talks about God's Word being His "love letter" to his people, and the truth and honesty of those words are the "kill shot" that is "tearing through my soul 'til there's nothing left" as Young implores God to "let Your love be the weapon" that brings him to his knees.  Lyrically, this track could be something of a companion to "Dear X", although this track is far more aggressive than that massive hit.

Another of my personal favorites is the next track, "Misery", as it speaks so much to the world we live in today, as the second verse expounds upon the epidemic problems of today's social media world with "would you pay any attention to me, Without the drama of hashtags, so depressed...".  The chorus then declares, "I don't want help, I don't wanna get better/All I want is your sympathy./Can't stop myself, can't keep it together/'Cuz I'm in love with misery".  A hard-hitting social commentary, to be sure, and set to a great, fist-pumping rock anthem that is sure to be a live hit.

The hidden gem of the record for me is the album's closer, "Best Thing Ever".  While lyrically simplistic, I love the way the song is delivered, with Young chanting out to Christ, "You are the best...thing...that has ever happened to me!  The best...thing...that has happened!".  A nice, uptempo modern rocker that could possibly find itself into a more modern and progressive praise playlist, this is the perfect closer for one of the absolute best records in the now 12 album catalog of Disciple.

Lyrically, as always, Disciple is scripturally sound and socially in tune, with Biblical references for the vast majority of the songs' lyrics included in the full lyrics sheet.  "Panic Room" screams about anxiety issues and our desire to control everything, "Reanimate" is an interesting twist on the idea of Christ being the physical manifestation of sin for us, and "Chemical Wisdom" tackles issues of chemical dependency, both self-induced and prescribed.  "Never Too Late" talks about the opportunity to turn our lives over to God and "start again" because "it's never too late, if you're breathing!", and the lone ballad-esque moment of "Walk With Me" is a song of friendship with Christ.  

Musically, the band continues to get tighter and tighter, with the comfort level among the men, who all contributed to the writing of Love Letter Kill Shot, seemingly never stronger.  Josiah Prince gets a couple of chances to step up to the microphone here, which work out well, and the twin guitar attack continues to explore new levels of aggression, experimentation, and harmony.  West is a beast on the drums, something that can be further appreciated in the live setting, as he absolutely tears things up.  But, as is always the case with Disciple, regardless of the lineup surrounding him, it is the passion of Kevin Young's vocals that are the driving force.  His vocals are so expressive, whether he is singing, screaming, quasi-rapping, or in some cases doing little more than talking to the listener.  Young just instantly draws you in, and never more than in the live setting, where he seems to make eye contact with the fans no matter where they are located, making his messages all that much more personal.  Add in the fact that long-time producer Travis Wyrick (with assistance from Prince) is almost as much a part of the band as any other member, and Disciple is a sonic force of massive proportions, virtually unequaled in my mind, in the Christian or secular musical world.

If listeners are seeking only what they have heard before, then Love Letter Kill Shot is going to be uncomfortable, and perhaps even scary at times.  But for those fans that have longed for the band to completely unleash themselves musically, lyrically, and thematically, Love Letter Kill Shot may be the album they have long been searching for.  Time will tell where the record stands for me in terms of top albums by Disciple, but for now, it is definitely at...or extremely near...the top of the heap.  As much as I have loved everything this version of Disciple has released, and as great as older albums like Horshoes & Hand Grenades, O God Save Us All, and the self-titled release were, Love Letter Kill Shot is on a different level for me.  

It's going to take an amazing record to bump this disc out of my player, to remove it from the status of "favorite Disciple record", or to knock it from the perch of Album of the Year for me.

  

Rating: Crank this excellent record to 8.5!

Back To Reviews

Concert Review--DISCIPLE (Destiny Foursquare Church, Rapid City, SD 7/24/19)

Normally, I don't drive hundreds of miles to see a concert, especially when there is only one band playing.  But, this Disciple show in Rapid City, SD was the impetus behind a family vacation (yes, we also saw Mt. Rushmore, Crazy Horse Memorial, the Cosmos, Custer State Park, etc., etc.), as not only do I love this band, but both of my sons are Disciple...err...disciples(?), as well.

As I stated before, there was no opening band for this show, which found the band on a long stretch across the United States, heading west to California before trekking south to Texas.  Not having an opening act is a bit of a risk for any band, because of a couple of things.  First, you minimize the draw of the show, because sometimes people will come to see the opening acts...maybe they know the band or are already fans of those early bands...and then they stay for the headliner's show, as well.  Without an opener, that draw is gone.  Secondly, with no opener, the success or failure of the show is placed squarely on that one band, and if things go badly, people can potentially leave with a bad taste in their mouth toward that band.  Fortunately, Disciple has established themselves as one of the main forces in the Christian hard rock world (behind only Skillet and perhaps Thousand Foot Krutch and Red, at least to listeners outside the Christian sphere), so the draw was a decent one, especially considering the show was on a Wednesday.  At one point I had done a headcount and tallied 89 people in attendance, but I am pretty sure that number exceeded 100 by the time the show started.  And, as far as having a bad show?  I had attended three previous Disciple shows over the past 5 years, and every single one was solid.  This show made it four-for-four, as the band was in top form both in sound and performance.

The band kicked off their show at about 7:15, with long-time members Joey West (drums) and Josiah Prince (guitar) taking the stage first, followed by Andrew Stanton (guitar), and finally the exuberant frontman, Disciple's founder and sole-original member, Kevin Young.  I am not sure if there is an off-stage bass player, or if the bass lines are pre-recorded/triggered by the sound man, but I can say with 100% certainty that the vocals were live, as were the guitars and drums.  This has become a big issue of late, with so many bands being accused (and accusing each other) of lip-syncing and using pre-recorded tracks.  Yes, there were some effects tracks used here, such as the cello introduction to "Dear X", but I never felt that I was being robbed of a live performance, as it is simply not feasible for most bands to travel with multiple non-member performers, and the use of these effects in no way negatively affected the show for me.

Once the show kicked off, the majority of the crowd immediately went to the front of the stage area, with my wife and sons joining me at the very front of the crowd, right in front of Stanton, about ten feet left-of-center stage.  It was straight into the music for the band, with the band launching into consecutive full-throttle rockers, "Rise Up" from 2005's self-titled album followed by "The Name" from 2014's Attack, the album where the current line-up came together.  "Secret Weapon" from the latest album, Long Live The Rebels, followed, with "Invisible" somewhat slowing things for a moment, before "First Love", also from LLtR concluded the "first movement", if you will, of the show.  By this time, the crowd was definitely fully into the show, as was the band, who put on their

full-scale show for the appreciative crowd.  If you have never attended a Disciple show, you are really missing something, as Kevin Young is an absolute ball of non-stop motion and energy, as he is all over the stage, jumping onto and off of the various boxes set up on stage, and putting everything he has into his vocals, as well.

At this point, Kevin took a couple of minutes to catch his breath and to talk to the crowd about the band's soon-to-be-released new album, Love Letter Killshot, which will be the third collaboration from the current version of the band, which is sometimes referred to as to as Disciple 3.0.  To give the fans a taste of what they can expect, the band launched into two new tracks, "Cuff The Criminal" and "Reanimate".  "Cuff The Criminal" features some electronic elements, but still rocks very hard, while "Reanimate" definitely falls more on the metallic end of the Disciple music spectrum.  I would imagine both will find significant success on Christian rock radio, but I find it too bad that the stations such as Sirius/XM Octane will likely ignore these tracks (and continue to ignore this band), as they are likely considered to be too Christian for their listener base.  Check out the videos below for BOTH new songs in the live setting (not from the show I attended), as well as the promo video for "Cuff The Criminal"....

          

By the way, the first lines of the verses are performed by Prince on lead vocals before Young comes in on the second half.  In concert, this song is a big audience participation number, with Young inciting everyone to jump around during the chorus section, followed by a group sing along on the big "whoa-oh-oh" section, which was a big hit with those in attendance.  My family had a lot of fun bouncing around and chanting along, and it was especially entertaining to see my seven year-old's shoes light up with every jump!  

From there, the band returned to more familiar waters, with two of the band's biggest hits, "God Is With Us" and "Erase", both from Long Live The Rebels, leading the show into it's midpoint and Young's traditional sermon.

For those who have never attended a Disciple show, Young regularly spends about 15 minutes speaking to the crowd, usually mixing in stories from his youth to help illustrate his point, which is based in Scripture.  On this particular occasion, Young spoke about society's need to win at all costs and our need to seek approval and reward for everything we do in life.  He talked about his band's successes and failures, all culminating in receiving a Dove Award (think Christian Grammy) that now sits on a shelf in Young's home, essentially meaningless and more or less forgotten.  Young became very emotional at one point as he talked about his youth, about not fitting in as a child and teen, and about eventually being befriended by the most popular student in school because that student had the courage to care about someone outside of his circle (they remain best friends today, according to Young).  The crowd was obviously moved by Young's willingness to bare his own emotional scars, which led the rest of the band back on stage to kick off the band's biggest track, the 2010 Christian Rock Number One song, "Dear X", which is also my oldest son's favorite song.  It was awesome to

see him get into the song so much, and the picture I managed to take during the track was, in my opinion, the best shot of the entire show, as it showcases a smiling Young next to the song's title as West hammers away at his kit.

"Game On" followed, with a three song medley of early Disciple scorchers being melded into what the band refers to as their "heavy medley".  Portions of videos to the songs are spliced together to show the band in their younger stages, particularly focusing on Young and his change in appearance and style over the years.  For those of us who have been following the band for more than a decade, this was a pretty cool treat, but I have a feeling much of the crowd had no idea where these songs came from.  The band continued in a heavier vein with the post-hardcore infused track, "Scars Remain", closing out the "regular" show.

After several chants of "one more song", the band returned to the stage, starting off with "After The World", a largely acoustic track that gave Young a chance to showcase that he is so much more than just a screamer.  The energy was cranked back up to ten for the final two songs of the evening, both from Attack, as Young broke out the band's signature flag for "Dead Militia", and then closed the evening with another massive fan scream-along track, "Radical".  All in all, the show ran for roughly an hour and fifty minutes, which is impressive for any band performing without a support act.

The band cooled down for a few minutes, before Young, Prince, and West returned to the church sanctuary and took their places behind a table and talked with fans while taking photos and signing autographs.  I'm not sure why Stanton didn't come out, but Prince stated that he was not feeling very well, himself, so perhaps Stanton was under the weather, as well.  All three men took not of the Kansas City Royals shirt and hat I was wearing (and pretty much ALWAYS wear), stating that they knew that KC had just swept their beloved Atlanta Braves team, and we chatted baseball briefly as they signed my sons' CDs and took a group picture with my 11 year old, which was likely the highlight of the entire vacation for him!

I was impressed with the show from start to finish, and even more so after talking to Prince, who was obviously struggling a bit with his voice.  This was the band's fifth show in six days, but you would never know it, as the energy level was high throughout the evening.  I was especially grateful for the band taking the time to chat with their fans, as they still had to load up and head off to another show the following night, but they never rushed anyone they were talking with.  I also want to say thanks to Destiny Foursquare Church and whomever helped to finance the concert, as amazingly, this was a FREE show to all attendees.  Truly a blessing for those who may not have been financially able to attend otherwise.

As to the venue, Destiny Foursquare Church has a very large sanctuary area and an excellent stage set-up which should appeal to other bands who may be travelling through the area.  The acoustics were very good, with no echo issues, which has been the case with shows I have attended in churches and smaller venues in the past.  The band was able to set up a merchandise area near the entrance to the church, which was easy to navigate, and the volunteers were all very pleasant to work with.  The merchandise selection was a bit thin, especially in the t-shirt department, but hopefully that is because Disciple is selling out of everything on a regular basis!  Both boys still managed to find shirts they didn't already have, and anyone who purchased a t-shirt also received a free copy of Long Live The Rebels on CD, likely so that inventory is cleared out in preparation for the arrival of Love Letter Killshot  

This was a great experience in an intimate environment that allowed for a lot of interaction between the band and concert goers.  This was my youngest's first time seeing Disciple, and the third time for my oldest, and both are ready to see the band again any time they roll even remotely through our area!

Keep up with Disciple's tour schedule HERE.

Reviews Index

THE GRAVE DENIAL "The Grave Denial EP"

(c) 2019 Independent Release

1. Fake
2. Breath Of Death
3. Take The Pain
4. God Awaits

Steven Rester--Vocals
Ryan Carver--All Guitars
Jacob Hannah--Drums

"Never give up, Never surrender!"  Those are the words of Tim Allen's character on one of my favorite sci-fi comedies, Galaxy Quest!  It springs to mind because that had to be the philosophy of The Grave Denial, a new modern metal band based out of Nashville...and Phoenix...as in Tennessee and Arizona!  Following a relocation of one of the members, as well as a decision to change the band's name, which could cause confusion among the band's followers, it would be easy to throw in the towel for a lot of bands.  But, thanks to the digital world, putting a band together, and keeping it together despite large geographical separation is not the problem that it once was.  So, for The Grave Denial, the separation of members led to a perseverance and focus on the end goal, which was the creation of this new 4-track EP.

Formerly known as EverCross, The Grave Denial plays a heavy brand of modern hard rock/metal which they deem "metal with a message"!  Bands such as Demon Hunter, Fight The Fury, and As We Ascend would be fair comparisons to the sound of The Grave Denial, while the band also claims Metallica, Iron Maiden, Trivium, and Parkway Drive as personal influences.  In my opinion, the closest the guys come to sounding like any of these bands is As We Ascend, and that is with good reason, as Jake Jones, vocalist and guitarist for that band, produced this EP.  That is not to say that the band comes off as AwA clones, because they do not, with Rester generally employing a far gruffer vocal style than Jones, and the heft of three of the four tracks falls more in line with Demon Hunter or Fight The Fury than anything As We Ascend has done thus far.

The EP opens with the lead single, and my personal favorite track, the most "radio-friendly" song here, in "Fake".  Currently climbing the Christian Rock charts and receiving strong airplay from Christian rock stations, "Fake" deserves to be heard by a much larger, less exclusive audience, as it ranks right up there with just about anything Octane is currently playing on SiriusXM satellite radio.  Some programmed elements open the track before Rester's vocals jump in along with the rest of the band.  For the majority of the track, Rester sings in a clean style, which is very reminiscent of the approach used by Jones on As We Ascend's debut effort. A song about putting on a false front in order to deceive others, this crunchy number has a crushingly heavy chorus section, starting with Rester's building roar of "You're....so....FAKE"!  The rest of the chorus is equally biting with its condemnation of the song's subject matter, as Rester more smoothly sings about, "All the faces you create/ All the lies make your escape, /Honey dripping from your lips/ Burning bridges, sinking ships...".  The guitars are hard-edged and aggressive, and the drum patterns fall outside the typical, varying from ther cadence and approach that is so common on most hard radio rock these days.

From here, things only get heavier.  "Breath of Death" has some classic guitar elements to it, with big power chords at the beginning, but things change rapidly when Rester comes roaring in on the verse sections in a decidedly more modern vocal approach.  Then, during the pre-chorus and chorus portions, Rester's lower-range vocals have an almost Gothic feel to the way they are sung over Hannah's double bass rhythms.  There is a tempo change coming out of the second chorus, with some straight-forward metal rhythm guitar riffing and a nice metal solo from Carver, before some effects-enhanced drums lead Rester back into the fray for one more run through the pre-chorus section, and a power chord fades the song out.  A pretty cool combination of styles and approaches all mixed together in one song, showcasing the band's diversity and influences.

"Take The Pain", with its chug-chug-chugga-chug rhythm guitars and punchy drums is extremely catchy, especially with the chant along chorus and a really cool guitar solo from Carver.  There are some production effects added to certain parts of Rester's vocals, but they only serve to enhance what he is already doing with his harsh screams.  Don't think something ridiculous like AutoTune here, rather think of how a computer might digitize and fade out the end of a scream.  When done with minimal repetition, it is a cool effect, and The Grave Denial nails its application perfectly here.

"God Awaits" closes things out, and once again, a cool, catchy chorus is a huge part of the draw of this song.  Sang rather than shouted or screamed, the chorus really stands out from the rest of the song, which is a choice combination of guitar riffs, barked vocals from Rester, and rapid fire drum fills and syncopated rhythms leading into and out of the chorus from Hannah.  There's also a cool vocal bridge before each chorus, with Rester screaming out "Fear", "Death", "Hope" and "Pray" while a lower, more spoken return follows each word.  Pretty cool stuff.  Carver lays out a fairly extended, melodic solo before the layered vocals of the chorus take their final few runs through the song.  A great way to close out an all-too-short EP from a band I am definitely going to keep an eye and ear on! 

As one would expect with Jones as the engineer and producer, the sound here is top notch and professional despite no label backing.  The guitars are crisp, the vocals sharp, and the drums have a full, hard-hitting sound, with nice separation throughout the EP.  Getting Jones on board was quite the coup for the band, and I have been told they hope to have him work with the band on their full-length album when it is ready to go.

As great as the music is, what impresses me equally is the mission of the men involved in The Grave Denial.  Fully willing to back up their Christian stance, the guys have all declared themselves to "be there" for their listeners whenever necessary, and have gone so far as to set up an on-line chat on their website, and even published their own personal phone numbers for people to be able to reach them if they need someone to talk to.  Now THAT is dedication and putting your money where your mouth is!  If you feel you need to talk to them, or if you want to tell them how much you love their music or their ministry, you can find more information at www.TheGraveDenial.com .

Hopefully, we will see actual CD copies available at some point, but for now, you can get your digital EP at CD Baby.

Rating:  An excellent debut!  8/10

Back To Reviews Index

FEAR NOT "For The Wounded Heart"

(c) 2019 Roxx Records

1. Don't Want None (Come Get Some)
2. Shadows Fade
3. Carry Me
4. Love Is Alright
5. Shipwrecked Hypocrite

Eddie Green--Lead Vocals

Larry Worley--Guitar, Vocals

Chris Howell--Lead Guitar

Rod Romero--Bass

Gary Hansen--Drums

Perhaps the band should be called Believe It Or Not, because that is honestly how I felt when I heard that Christian hard rockers, Fear Not, were returning after 25 years.  And not only is the band back, but all four original members are back, as well!  Worley, Howell, Romero, and Hansen all made a pretty significant splash on the Christian hard rock scene in the early 90s, but like nearly all bands of the time, they were swept away in the alternative/grunge tsunami that would wipe away pretty much the entire hard rock/hair metal scene of the time.  But, a Roxx Records reissue of the band's self-titled debut album apparently sparked a desire for the band to give it another run.

On this new, 5-track EP, the band brings in Eddie Green to handle the lead vocals, with original vocalist, Worley, moving to backing vocals and guitar.  I have been asked why Worley is no longer the lead vocalist, and I do not have an answer to that question...yet.  Perhaps I will get a chance to talk some trash with Larry at some point and get that answer.  For now, however, know that the lead vocals have been left in good hands with Green, who has a deeper, richer tone than Worley typically employed.  But don't think that the band has changed all that much as far as their style and approach, as Fear Not is still, first and foremost, a hard rock band.

The EP kicks off with a big drum intro from Hansen, as "Don't Want None (Come Get Some)" comes crushing out of your speakers!  Edgy guitars from Howell and Worley join the fray, as does Romero's rumbling bass, before the newbie is allowed to utter a sound.  But, when Green breaks his silence, he comes out swinging!  Again, singing in a lower register than Worley used, Green's vocals carry an urgency, an angst, that really powers this track.  The chorus sections are complete with big, gang shouted backing vocals that sound a bit as if an angry mob, rather than a group of musicians, were rioting in the background.  Howell rips through a tasty solo before the final chorus kicks in, and by the time the track wraps, a feeling of "whoa...yeah!" sweeps over me.  This is impressive; what have you been waiting for?!

"Shadows Fade" steps a bit back from some of the modern rock hints that were thrown into "Don' Want None", and sounds a bit more like classic Fear Not, musically.  It is on this track that I finally realize that Green reminds me a lot of the vocal style of Ken Tamplin, both in the range he works in as well as the emotion he packs into his words.  Once again, Howell flashes his guitar talents with an excellent solo, and Green showcases his lung capacity when he holds one particular note coming out of Howell's solo for an extended period of time.  Swirling guitars churn their way throughout the whole song, and again, the drums and bass are huge support structures for this great, great rock tune.

The band slows things a bit for "Carry Me", which hints at being a power ballad, but perhaps with a bit more "power" than "ballad".  Again more in the vein of classic Fear Not, "Carry Me" is a moving song about never having to walk alone when you walk with Christ.  The song, to me, is a rocker's update of the classic Footprints In The Sand poem, and it is executed perfectly.  Green pushes his upper range a bit more here, but more in a rich tenor than in a rafter scraping scream or wail.  Worley's backing vocals are very evident on this track, in particular, and they add a great deal to the feel of the song.  I would imagine this will be released as a single at some point, as it is a song that melodic rock stations, whether terrestrial or Internet-based, will definitely want to add to the mix at some point.  

A bit of aggression returns to Green's vocals on the thumping "Love Is Alright", and he takes on a sound that is close to that of EZ Gomer from Jet Circus, if you understand that early-90s Christian metal reference.  Howell blazes through a killer solo here, complete with all the fret board antics one would expect from an axe slinger of his talent.  But as great as these things are, it is the bottom-heavy groove of the track that gets stuck in your brain on this extremely catchy track that has to be in the live set.  It just has to.

"Shipwrecked Hypocrite" closes out this all-too-short EP (just 20 minutes total) in excellent fashion.  The rhythm guitar line is a bit quirky, which I like, and Green again is offered an opportunity to explore his range a bit in this track about living your life without the guidance of Christ to help you set your course as you navigate the waters of life.  Before closing, Howell cuts loose one final time on a truly impressive solo, and once again the interplay between Green and Worley vocally is a treat to hear.  

I will be honest, I was very leery of another singer fronting this band that I have followed since 1991 when 3/4 of the guys were in LoveLife (minus Chris Howell on guitars).  And while there is a difference to the sound...how could there not be?...the addition of Green does not alter who Fear Not is or what they do.  This is an impressive return for a band that has been almost completely inactive for more than 25 years, and I get the impression that this is not a one-and-done deal.  The band has said that they plan to hit the road in 2019, and I wouldn't be surprised if there is more to come from these guys.  Again, I don't know the status of Worley doing any lead vocals on the classic material live, but I would definitely go check them out regardless if Fear Not is anywhere near your neck of the woods.  If what they bring to the table live, and in any future recordings, is anything close to the quality of the material here, it just may turn out that it was worth the wait.  

Top notch production, a thick, bold sound, and spiritual-without-being-preachy lyrics...For The Wounded Heart is a winner in a big way to start 2019!  Due out in March, you can pre-order your copy through Roxx Productions for just ten bucks!

Rating:  8/10

Return To Reviews Index

MESSIAH PROPHET "Master Of The Metal"

(c) 1986 Pure Metal Records

1. Hit And Run
2. Master Of The Metal
3. For Whom Does The Bell Toll (Ps. 23)
4. Fear No Evil
5. Heavy Metal Thunder
6. The Friend
7. Battle Cry
8. Voice That's Calling

Charlie Clark--Lead and Backing Vocals

Andy Strauss--Lead Guitars, Acoustic Guitars, Backing Vocals

Brian Nicarry--Guitars, Lead Vocals (3, 7), Backing Vocals

Joe Shirk--Bass, Backing Vocals

David Thunder--Drums

Additional Musicians

Bill Grabowski--Guitars

Alexander Paul--Guitars

While it had existed as a genre for over a decade, Christian hard rock and metal was going to explode in 1986, due in large part to the massive exposure the genre received from Stryper's massive To Hell With The Devil record.  Suddenly, new bands were popping up, old bands were finally getting recognition and exposure, and new labels were forming to get these bands out to the masses.  Pure Metal Records was one such label, and Messiah Prophet was the first band signed to the label.  Perhaps no band better fit the imagery of a label than Messiah Prophet and their second record (first for Pure Metal), Master Of The Metal.

Previously called Messiah Prophet Band, the five piece act changed three members from their previous album, the solid, but decidedly more hard rock Rock The Flock, dropped the "Band" from their name, turned up the guitars, and created a true Christian (or White) metal masterpiece.  Often wrongly called "Heavy Metal Thunder", most likely due to the popularity of that particular track, Master Of The Metal was a beast of an 80's metal album, complete with dual guitars, a thunderous rhythm section, and a vocalist in Clark who could raise and lower his register seemingly at will.  Interestingly, newcomer Nicarry provides lead vocals on the two ballads of the album, but Clark's wail can be easily recognized in the chorus sections, especially on the massive power ballad, "Battle Cry".

The record starts off in fine fashion with "Hit And Run", a mid-tempo hard rocker that kicks off with rapid fire snare drums and chugging rhythm guitar riffs before an overlay of police sirens enters the mix, adding a sense of urgency...and perhaps a bit of 80's metal cheese...to the track, which finds Clark warning listeners "Don't be a hit and run", referring to finding oneself a victim of Satan without having the protection of Christ's love.  The guitar work here is top notch, and the bass of Shirk is definitely stand-out, as are Thunder's drums.  A great way to kick off an album.

The title track is up next, and again, the mid-tempo track is a near perfect track, with aggressive rhythm guitars, a heavy drum presence, big, gang-shouted chorus sections, and a bass presence that was often overlooked in heavy music of the time.  There is a cool time change following the second verse and chorus section that finds Thunder kicking his way through some interesting drum patterns, before giving way to a flashy lead from Strauss, who also wrote the song.  

Nicarry takes his first lead vocal spot on the next track, "For Whom Does The Bell Toll (Ps. 23)".  Introduced by a haunting church bell, "For Whom..." should not be confused with the Metallica track of the same title, as this song is a ballad interpretation of the 23rd Psalm, featuring strong acoustic guitar work and a big, layered chorus vocal, led by Clark, that pronounces "Yea, though I walk/Through the Valley of Death/I will fear no evil".  There are some scriptural modifications to the verses to make them better fit the song structure, but it is clear the intent of the song is to put the well-known inspirational verse to a musical soundtrack the rock/metal kids of the time could relate to.  The chorus, interestingly (intentionally??) leads perfectly into the next track, "Fear No Evil", which finds Clark's high-end power vocals returning to the lead position as the tempo picks back up and the wailing guitars return.  While "For Whom Does The Bell Toll" is an excellent piece of music, it is on "Fear No Evil", with it's shout-along chorus and screaming guitars, that Messiah Prophet really excels.  And nowhere is that more evident than on the featured track of the record, the "hit" of the record, "Heavy Metal Thunder".

Featured prominently at the center of the CD (or at the beginning of the B side of the vinyl), "Heavy Metal Thunder" is five and a half minutes of 80s classic metal bliss.  A big power chord intros the track before Nicarry's rhythm guitars and Thunder's drums join the fray just ahead of Clark's vocals, which take on a nearly-spoken work approach for the first half of each voice, before he cranks up the power, adds a bit of edge, and then elevates the range as he enters the big, layered chorus of "Heavy metal thunder/Heavy metal noise!"  A bridge of "Who are you going to choose?" repeats itself a couple of times before Strauss goes crazy on a screaming guitar solo that put much of the Christian metal scene on notice that this band was for real.  There is also a repeat of the vocal bridge, this time atop just a big...ahem...thundering drum section from Mr. Thunder, himself...before Clark takes a couple of spins through the chorus, and big, twin guitars lead the charge home.  At this point, the greatness of the record and the band is pretty much firmly established and the rest of the record is pure sonic bliss.  

"The Friend" follows up, again featuring a catchy, chant along chorus and gritty rhythm guitars that keep the mid-tempo metallic train chugging steadily forward as Thunder's drums and Shirk's bass keep hammering away in lock step.  Nicarry returns to the lead vocal slot on "Battle Cry" which is an excellent quasi-power ballad that is again supported by Clark's powerhouse vocals on the chorus section, before the record closes with one of my two favorite tracks on the album, the epic metallic rocker, "Voice That's Calling" that is every bit as musically perfect as "Heavy Metal Thunder", even if its likely not as accessible to casual metal fans.  Strauss is absolutely spot-on with his solo work throughout this seven minute monster.  For me, the brilliance of the track is the closing vocal stretch that finds Clark emphatically wailing, "Jesus, Jesus, I will have no gods before you" repeatedly as Nicarry riffs away and Strauss tears into another closing solo run as Thunder complements the song with some great tom fills.  Just a powerhouse of an ending to an equally powerful track.

The cover artwork is nearly as noteworthy as the music, and it is a great part of the overall package here.  The CD insert (and the cassette insert, as well) features full lyrics, writing and performance credits, acknowledgements, and booking information.  There are no band photos or member thank yous included.

This is a masterpiece of an album in the Christian metal genre, and a great piece of straight forward 80s metal overall.  Edging a bit towards more commercial, more melodic metal at times, the album struggles only with the limitations of he production at the time.  This is an album that SCREAMS for a true remastering, because if the muddiness could be even semi-cleaned up in a couple of areas, fans of the Christian metal sub-genre, and of 80s metal in general, would clamor for the project.  As it stands, this album has been reissued one time in the early 2000s, but it was not remastered.  In a perfect world, I would love to see an anthology collection of this album, the 1984 independent album, Rock The Flock, and the last song Clark recorded as Messiah Prophet (albeit with a totally different band), "Blinded".  

This would be the final true Messiah Prophet album (again, Clark recorded one more song, but with a different band), and the next album to feature the Messiah Prophet name, 1996's Colors, is a completely different animal than this iteration.  Decidedly more commercial hard rock in it's approach, Colors, while not horrible, pales in comparison to Master Of The Metal, and not one member of the band from either Rock The Flock or Master Of The Metal performs on it.  I believe this is an example of the label owning rights to the name and the publishing, so when Clark and Strauss' version of the band ceased to exist, the label (then Refuge Records, who bought out Pure Metal) simply put together a new version of the band in an effort to sell records (that plan failed, by the way.  Colors is pretty much considered garbage by most Christian metal collectors, although I think this is a bit harsh.)

Sadly, Clark lost his battle with Lou Gerhig's Disease (ALS) in very early 2018 at the too young age of 55.

Long out of print, in either the Pure Metal or the limited edition reissue, this CD is still highly sought after and regularly fetches $25-50 prices on eBay.  I have seen copies on Amazon listed for $29.99, but I have a hard time believing these are not bootlegs, as they are listed as "new", which I find hard to believe.  

If you can find one for a decent price, you should snag it, because Messiah Prophet's Master Of The Metal is one of the truly great pieces of Christian metal in the important 80s metal scene.  

Rating:  8.5/10

Return To Reviews

  

LOVEWAR "Lovewar"

(c) 2019 Roxx Records

1. Who I Am
2. Stand Under It
3. Upside Your Face
4. Candle
5. Grain Of Salt
6. Tuxedo Alligator
7. One-Trick Pony
8. House Of Cards
9. Mercy
10. Up For A Fight
11. You

Tim Bushong--Lead Vocals, Guitars

Greg Purlee--Drums, Percussion, Backing Vocals

Rick Armstrong--Bass, Backing Vocals

No need to check your calendar, as, yes, it is still 2019.  And, yes, you did read the title to this review correctly.  Lovewar has reformed to release a new album more than 25 years after their one true album, 1993's Soak Your Brain.  To some this has become an annoying trend, but for me, the resurgence of old bands who are releasing new material years...sometimes decades...after their last record is an amazing thing!  It not only gives me new music to feast my ears upon, but it also drives me to revisit some of those bands and albums of my youth that have been collecting dust on a shelf.

Things kick off with Purlee's drums before a chunky, down-tuned guitar riff roars from Bushong's guitar on this mid-tempo rocker, only to back off into a quieter, funkier riff during the verse sections.  Here, we get our first listen to Bushong's vocals in more than 25 years...and it was worth the wait!  As a 23 year old, "faster and louder is better" metalhead, I couldn't fully appreciate Bushong's approach, but now, I get what he is doing and definitely like his style and approach.  The edgy guitar crunch returns on the chorus sections which feature some excellent layered harmony vocals from Purlee and Armstrong, whose bass is not only heard but felt throughout this track, mixed perfectly so as to be given a voice without becoming overbearing.  We also get to hear the first solo run from Bushong on guitar, and it is apparent the amount of talent this band has when it is all put together into one musical pot.  Good stuff to open with. 

The tempo picks up...and the music lightens up a bit...on the next track, "Stand Under It".  I'd definitely say this is one of the two or three best songs on an album with no real filler material.  Again, those vocal harmonies are a joy to hear, and the tight rhythm section of Armstrong and Purlee really gives Bushong a solid footing on which he can not only run vocally, but also with a guitar solo that has that 60s Hendrix tone to it.

"Upside Your Face" is another hard rocker with a funky attitude, and it is here that the first comparison to 80s/early 90s King's X is likely to be drawn, although there are nods to Extreme here, as well, though there is nothing even remotely close to a rip-off on this record.  Armstrong is given a chance to really let his bass work here and he does not pass up on the opportunity, nor does Bushong on his solo section.  Purlee, likewise, makes his presence known, with plenty of tasty fill work, especially during the guitar solo, where the cymbals spring forth almost like they are part of that solo.  Another song that falls into that top three or four songs category for me.  

The album's lead single is the funky rocker, "Candle", which features a quirky, jangly guitar riff running the course of the track, along with interspersed harder-edged guitar riffs, giving the song a unique sound that is definitely not something that is part of the current musical landscape.  (And we are all being robbed of so much great music because of this...)  Bushong's vocals are a bit deeper than they were a couple of decades ago, a bit more weathered, but he still sounds strong, like a cross between Gary Cherone and Dug Pinnick.  Armstrong's bass is given plenty of room to rumble on this track, and Purlee's drum patterns are every bit the match for the varying guitar approaches utilized here.  Check the video below to get a feel for what you are going to experience here.

There is a definite musical continuity running between this album and Soak Your Brain, which is largely the result of the fact that these songs were reportedly written as the follow-up album way back when.  That being said, I think the lyrics have been updated to fit a more current time.  As an example, the song "Grain Of Salt"features these great lyrics...

                 "So much tolerance/Can't seem to tolerate...

                   So much violence/Makes me wanna hate.

                   Too many genders/Clutter up the view...

                   Too many lawsuits/Make me wanna sue!"

While nothing here likely jumps out at the casual listener as being out of time, when you consider these songs were written 20+ years ago, the "more than two genders" thing wasn't an issue in the 1990s or even early 2000s.  Regardless, when you hear the band's layered harmony vocals on this, and several other tracks, as well as their musicianship, it becomes very easy to understand why the trio is frequently compared to King's X.  And while that is understandable, it is also unfortunate, for King's X clones, Lovewar is not.  Personally, I far prefer Bushong's vocals, and I think Armstrong's bass, which is featured prominently throughout this record, is a bigger overall instrument than it is on several King's X records.  But again, this isn't about comparing bands and saying "this band is better than that band".  No, this is about a group of guys that came together, seemingly out of nowhere, to reform a band and say, "yeah, let's do this one more time".

"Tuxedo Alligator" is a picture of a wry smile painted with musical brushes, with liberal doses of blues, funk, and rock all smattered across the canvas.  The riffs are chunky and gritty in places, daring Bushong to unleash his guitar, but the funky bass line and generally laid back, lounge-esque drum patterns reign things in, creating a musical tension that is pure ear candy.

"One-Trick Pony" starts off with an acoustic guitar section that eventually morphs into a Zeppelin-styled riff that is soon swept over by the band's layered, Extreme-styled chorus, which actually precedes the first verse.  This song is dang-near hypnotic, and I found myself returning to it over and over, drawn in not only by the instrumentation, but also Bushong's angrier approach to his vocals, particularly on the bridge section where he screams...

                "The world is dying, and we are crying, and shaking and bawling and roaring and barking                       to the dogs!" 

...or something close to that; there are no lyrics included with my preview copy, and his angry snarl is a bit hard to make out in this section.  The longest song on the album, there's a lot to take in here, and all of it is good.  Probably my favorite track on this album.

"House Of Cards" takes on a groove-heavy Enuff  Z'Nuff quality musically, with tight harmony vocals and an infectious melody that sets it apart from some of the other tracks here.  The guitar solo is exceptional, with Bushong using two different styled effects on specific parts of the solo break, alternating between a smoother, 60s-rock sound and a slightly edgier, grittier sound.

"Up For a Fight" starts off with heavy, dark tones, before moving into more friendly-sounding territory.  Again, highly catchy, especially on the main guitar riff that carves its way through the track, and the layering of the vocals add a depth that is just absolute perfection to these ears.  This anti-politics song...at least the current state of politics...is really, really well done, and would have been the perfect close to a really solid return.  But Lovewar isn't quite done yet.

"You" is another Zeppelin-meets-King's X track, especially in the guitar riffs that open the track, while the Extreme qualities of the song jump out at you in the pitch-perfect harmony vocals, the added percussion instrumentation, and the thick vibe that runs throughout.  All three men are equal parts of the whole here, and if "One Trick Pony" isn't the best of the batch, "You" probably is.  "You" has an extended instrumental section to exit the song, but does so without feeling like it breaks down into a jam band session, and when the final guitar note rings out, you find yourself waiting for the next track to kick in because you simple don't want the record to be done!

The production is very good here, which is essential when you are dealing with a band that has as much musical talent, quality, and depth as a band like Lovewar.  Top notch songwriting, excellent musical performances, and gorgeous vocal work...from lead vocals to those exquisite harmony vocals...all lead to an amazing return for Lovewar.

Now...if we can only convince them to not wait 25 or so years before the next album comes out...

Rating:  8/10

Back To Reviews 

SEVENTH DAY SLUMBER "Closer To Chaos"

(c) 2019 RockFest Records

1. Alive Again
2. Cold Kiss Embrace
3. Burning An Empire
4. Drama
5. Light It Up
6. Man Down
7. The Letter
8. Still Breathing
9. Sober
10. Your Eyes

Joseph Rojas--Lead Vocals, Guitars

Jeremy Holderfield--Lead Guitars

Ken Reed--Bass

Blaise Rojas--Drums

I've been on board with Seventh Day Slumber for several years now, going back to when I first heard the band in a live setting (I was there to see another band, truth be told) as they were on tour to support their then-new release, We Are The Broken.  Since that time, I have managed to track down just about every single release the band has put out, and I have found varying degrees of enjoyment with each release.  From the post-grunge beginnings found on Picking Up The Pieces to the modern radio rock success of the previously mentioned We Are The Broken, the Redline EP, and the band's last studio effort, Found, the band has managed to continue to grow bit by bit, subtly altering and updating their sound, while never losing track of who they are...and definitely never compromising on their message.  And, while the band has had numerous Billboard #1 and Top Ten hits, two number one albums, and more than 500,000 albums sold, I always felt the band was still searching for that album that was going to truly define who Seventh Day Slumber is and what the 7DS sound really is.

With Closer To Chaos, I believe they have found that album!

The songwriting on this record is simply a step, maybe even a step and a half, ahead of anything the band has put forward up to this point.  And, with the list of accomplishments I rattled off for you above, that really says something!  But there is a cohesiveness to the writing here, as well as a maturity, that wasn't always present before.  Where every previous album had about three...maybe four...great songs and one or two filler tracks, surrounded by nice but not necessarily noteworthy tracks, Closer To Chaos tightens things up significantly!  Nowhere to be found are the filler tracks, and nothing here is forgettable at all.  With writing contributions from both Joseph and Blaise Rojas, as well as Josiah Prince (Disciple) on three songs, the band carves a melodic-yet-modern path through the rock landscape with each and every track here.

Just because the album is full of great songs, that doesn't mean there aren't a handful that really grab my attention.  Take, for example, the album's first track lead single, "Alive Again".  After a brief build, the rhythm guitars and punchy drums jump straight to the front of this mid-tempo hard rocker about wanting to be able to be the real you and to put your best foot forward, not having to put on a fake smile and just make it through the day.  Holderfield's guitars carry an aggressive edge with a stop-start-stop-start chugging approach that is executed perfectly here as it drives the track forward.  It's also nice to hear Ken Reed's bass so even in the mix, as the bass seems to either get buried, or totally BLASTED in the mix on a lot of rock records now, but here, we get the perfect blend of present but not predominant from the bass.  Joseph's vocals are powerful here, particularly on the bridge section, and I am constantly in awe of how easily he slides across certain sections of this track (and many others), coming across like he is having a conversation with you with his delivery style.  I love it!

"Burning An Empire" is an extremely powerful song and a commentary on how our society devalues itself.  The second verse, especially, really punches the listener in the gut as Joseph eloquently lays out the abortion debate from the viewpoint of the pro-choice crowd...

"We are the ones who decide/Who lives and who dies/We let the unborn pay the price...
Its all just murder for hire/So you can fill your desires/As we go on with our own lives.
What will it take to see the mess you've made?
We're Burning an Empire...."

The whispered vocal bridge is every bit as powerful here, as well...

"There's evil in your eyes/Your blood-stained hands don't lie.
You're rotting deep inside/Rotting deep inside..."

Its a truly haunting statement about what society values and what it discards, and it is a song that I can never get through without hitting repeat at least once.  Musically, its equally great, and while SiriusXM will ignore it, this track could (and should) share the airwaves without anyone batting an eye until they got to the lyrics.  An awesome, awesome song!

Speaking of songs that get repeated, the powerful "Man Down" ranks as one of the very best tracks this band has ever put onto a record.  Starting (and ending) with the sounds of war, the song soon leads the listener to the realization that the sounds are the soundtrack to a nightmare being had by a soldier with PTSD.  A truly powerful message about the men and women who continue to live and relive the hellish experiences of war, even when they return home, "Man Down" should be picked up by any number of military and police organizations that work with survivors.  Co-written by Blaise Rojas, "Man Down" is quite likely my favorite track on an album filled with excellence.  The guitar tones are as haunting as the subject matter, and the chorus rings in my head for hours after hearing the song...literally.  It gets stuck and I can't get it out...

"Man down/We've got a Man Down!
Crying for help/But I can't make a sound,
Trapped inside/My own mind!
Losing control/Of all my emotions
Is there a cure/For the wounds that I've opened?
I'm bleeding out/We've got a Man Down!"

Big drums, a powerful bass presence, and those haunting guitars all combine to make an incredibly powerful song that, again, should be all over the airwaves!  Request it, hashtag it to Octane or your favorite terrestrial station, do whatever you can to get this important song out there!

The follow-up track, "The Letter", delivers an equally powerful message about the issues of cutting, self-harm, and suicide, issues I work with on a regular basis in my real job.  The gut-level honesty that 7DS approaches these songs with is what makes them so powerful in my mind, as this track sounds like it was likely written as a compilation of hundreds of letters and conversations with hurting fans throughout the years.  There's some nice modern production elements dropped into the mix leading into a tasty little guitar solo, and again the drums and bass just punish the bottom end of this track.  Good, hard-hitting stuff, both musically and lyrically.

"Sober" is another cold slap of reality as it tackles the issue of addiction and the use of chemicals to mask pain and depression.  As a teacher who works with juvenile offenders, this song really hit me hard, as it is the soundtrack of so many of my students' lives when they are dealing with parents who are substance abusers.  But it was these lines, lines of hope, that really cause my eyes to sting...

"I wanna medicate/But I gotta sit through the pain.
To tell the truth/I almost picked the bottle up again.
I made a promise to my kids
Daddy's never going back, no matter how hard it gets!"

The chorus, however, is such a pleading look at pain and self-medication that it hurts to listen to.  Musically, the guitars take on an angry, crunchy tone, with some electronic elements buried way in the back just to lend support and fill in the rare instances when the drums and guitars take a quick breath!

The record's closer, "Your Eyes", is an excellent, hard-hitting rocker that closes out this excellent album in perfect fashion.  Crunchy guitars, rumbling bass, big drums, a supporting keyboard line, and some great backing vocals (big WHOA's!) on the chorus section all combine on this track about slef-worth and seeing oneself the way that Christ sees us.  For me, this is the perfect track to close the record...and then restart Closer To Chaos all over again!

This is an excellent record from start to finish, and I didn't even get to touch on all the great tracks like "Drama", with it's big hook and catchy chorus, or the gritty, chunky "Cold Kiss Embrace", a song about moving away from toxic relationships and toward being healthy and happy with oneself!  There simply isn't room to give each track here the written love it deserves!

Band founder, lead vocalist, and rhythm guitarist, Joseph Rojas is in especially fine vocal form here.  I don't think he has ever sounded better, to be honest.  Always smooth, always melodic, there is a depth and power here that was not always present on albums past, at least not all the way through.  But on Closer To Chaos, Rojas is one-hundred percent in full control of his range, his emotional depth, and his vocal presentation.  This sounds to me like an album where the band worked at finding exactly the right vocal take on every track to get the sound they were after, and it pays big dividends here.

It's also worth noting the growth in Blaise Rojas' playing.  He has definitely matured as a musician, with his drum patterns and fills becoming more and more interesting, bringing an energy and life to the songs now, whereas on previous efforts he was more in maintain the beat mode in places.  And while that has worked (to a degree) for any number of drummers in the rock industry throughout the years, it is always a treat to hear a drummer not just rely on the same-old-same-old and to grow and challenge themselves, and the listener, with new ideas, new tempos, new fills, etc.  With his sound married to the impressive work of long-time bassist Ken Reed, the rhythm section has a fullness on the bottom end that few bands in the modern arena have managed to capture on a record that has crossed my desk.

Produced by the band's longtime, and seriously underrated, guitarist, Jeremy Holderfield, with co-production nods given to Disciple's guitarist, Josiah Prince, the sound here is crisp, aggressive, and beautifully mixed, without the muddiness that seems to really make a mess of a lot of the modern rock that has come out recently.  There are touches of production elements thrown into the mix, but overall, Closer To Chaos is about the band, not the studio, and the conservative use of production gimmicks should be applauded here, as my experience has always been that Seventh Day Slumber doesn't need them.  Having experienced the band live multiple times now, I can tell you they put on a great show, and with  Closer To Chaos, they may have some hard decisions to make for this next tour's set list, as there are a lot of new songs that need to be heard in the live setting, to go along with "We Are The Broken", "Bring It On" and "Oceans From The Rain"!

If you catch them live, post their set list in the comments section; I'd LOVE to find out what they are playing now!

Rating:  8/10

Go To Reviews