another music update.

They Will Know Another – Thy Art Is Murder

I used to work at a fifties restaurant back home in junior college. As I worked my way into the kitchen as a short order cook in my last several months, one of my coworkers offered up a blood caked musical platter of black metal bands by way of Immolation and Dark Funeral to plug into our small jam box. He would crank this stuff in the kitchen during long weekend shifts to keep the energy running when orders poured in by the time the clock struck 5 pm on Friday nights. Keep in mind that black metal has never been a palettable genre on account of its overt Satanic cloitering, so even if the music is well written, it still doesn’t strike anything with me by association of the message it generally promotes. Given Paul’s exhortation that while we were sinners, Christ died for us, this is not meant to be a critique of its people or my coworker for that matter. Even corpse paint and anti Christian imagery doesn’t take away from its forerunners being image bearers of God when the amps turn off.

Having said that, Thy Art Is Murder have come the closest that any other band has (and probably ever will) to tipping a hand at this genre in a manner that made my ears pique and it’s not via meta messaging in its lyrics. It has everything to do with how guitarists Andy Marsh and Sean Price took a style of metal they already excelled at and then injected a shot of blackened tremolo minor chords synthesized from core influences like, Behemoth, forging their contribution to a three way split between Fit For An Autopsy and The Acacia Strain into a true ripper of a song.

The band’s subtle changes in style and uncharacteristically slowed pace gives They Will Know Another an apocalyptic ambiance with a full charge of blast beats, menacing vocals from CJ McMahon, and impressive production, hitting you with blunt force trauma when you crank it on a good sound system. Lyrically, They Will Know Another, traps the listener in an echo chamber with the social, economic, and environmental shockwaves captured in the music video’s lowlight reel shows between studio clips of the band with FFAA’s lead guitarist Will Putney at the controls (which is not for the faint-hearted, either). Far from hopeful, aggressively bemoaning, and altogether intoxicating. This is one of the most standout, uncompromising tracks I’ve heard in a while, especially since it’s had such high replay value since its release last July and it’s a promising direction for Thy Art Is Murder if this is what they choose to march on with on their next full length.

 

Of Dirt and Grace – Hillsong United

When I bought Relient K’s alt rock opus, Forget and Not Slow Down, five years ago in my hometown’s record shop, I immediately gravitated towards one single, excessively playing I Don’t Need A Soul until all the other tracks became muted against the canvas of Thiessen’s proclamation of contentment all-la Foo Fighter Counting Crows 90’s rock instrumentals (the good kind). Eventually, I moved onto other songs as a way to take a break between that song, repeating the process of being hooked on one track until I sojourned the whole record from cover to cover. It remains one of my favorites to this day as a result of the journey.

This is my parallel experience with Hillsong United’s Of Dirt and Grace.

Coalescing the on site significance behind these songs and well executed performances (with little rehearsal), these acoustic renditions of Empires and Zion showcased on Of Dirt and Grace breathe a different spectrum of life that is palpable. Though their original recordings primed record sales and waves of congregations to pick up these spirit charged bridges on Sunday mornings, there’s something special about hearing Scandal of Grace recorded outside the empty tomb or Prince of Peace sung overlooking the dome of the rock outside the old city walls and on the side of a destroyed Abrams tank from the 6 day Israeli-Palestinian war. The visual accompaniments let already well-crafted songs take flight. I can picture myself stopping dead center in reflection on the Via Dolorosa and taking in the rich, melodic reverb of Street Called Mercy as I ponder Jesus carrying a Roman cross bar up a half mile through congested city streets to Golgotha. I can almost feel the soft breeze between my fingertips and cattails brushing on my skin on the mount where Jesus delivered the beatitudes when I hear the acoustic plumes in, Say the Word. Much like Explosions In the Sky did with specific visual correspondence in each song, I think Hillsong brilliantly does with Of Dirt and Grace, because it showcases a depth of care and detail put into the theology behind the tapestry and that matters, a lot!

Returning to my allegory about FANSD, Touch the Sky was the only song I really liked for a while, because I first enjoyed its original studio recording. As I traversed through other songs like Here Now and Empires, I really began to chip away at Dirt and Grace, binging on every minute detail of these songs until I made my way through a full listen of this album and as a result, I have a newfound appreciation for it! Though these are acoustic versions of their original songs, they are still dense with layers of reverb, keys, and acoustic subtleties. In addition, and probably most importantly, the vocal performances on this record are astounding! Everyone in United is bountifully talented and delivers passionate performances, bringing encouraging lyrics with just as much depth as their aesthetic to full bloom. This is up there will We Will Not Be Shaken as one of my favorite worship records and I have found a lot of spiritual resonance in these songs!

 

Neurotic – Hundredth

Do you remember this polarizing phenomenon when Linkin Park dropped Minutes to Midnight in 2009? Long time fans of the band’s cornerstone nu-metal records unhinged at the sound of singles like Shadow of the Day. When you put their entire catalog on a timeline and take in Chester Peddington’s commentary on the matter, Minutes to Midnight was Linkin Park’s reaction to their disdain of the looking glass self they felt like fans and the record label were wanting to see in the mirror. At this point, they weren’t all the way there in a full turn around, but Minutes was a shocking 90 that culminated in the 180 that was, A Thousand Suns.

Much like Slipknot, Linkin Park, is a fascinating case study of musical evolution for my generation. Autobiographical programs like VH1’s Behind the Music (#nostalgia #bringbacktrl) chronicle bands with long careers proving a certain acumen and then shifting their musical tectonics in another direction to parallel their maturity as human beings and artists. Just like James Hetfield of Metallica is no longer a teenaged mullet rocker committed to sleeping on UHaul blankets in the pursuit of pure thrash and Chester Peddington/crew didn’t want to write another three carbon copies of Meteora, front man Chadwick Johnson has expressed in multiple interviews that Hundredth is a far cry from the 18 year old Carolinians who wrote When Will We Surrender in 2010. Evidence shows through their new single, Neurotic, teased from the band’s forthcoming record, Rare. The band has commented that through their double EP and their last full length, Hundredth wanted to stylistically reach in new directions while still keeping their core sound rooted in a comfortable niche that didn’t alienate the original fan base which heralds When Will We Surrender and Let Go. If the former releases didn’t at least challenge that notion, then Rare definitely will, if Neurotic is any indication of their new direction.

Abandoning all traces of their melodic hardcore grit, Neurotic trades in driving, up-beat rhythms and breakdowns for a shoegaze/punk vibe that puts Chad Johnson on guitar for the first time in the band’s history and trading in anthemic yells for filtered clean singing that compliments the distorted, electronic undertow. Speaking as someone who compliments Let Go as one of the first real hardcore records that ever captivated me, I anticipate the potential for this band charting new musical territory, because Neurotic is a convincing listen that showcases Hundredth’s aptitude. Don’t get me wrong though, this song is aggressive (though its lyrics don’t speak for that much), but it’s expressed in a more subtle way that gets you bit by bit when you study the subtleties of this song after multiple listens. To be honest, the aforementioned is my favorite quality about Neurotic. Rather than letting you take it full force on impact like much of their discography, Neurotic calculates it into a more intelligent delivery that still has an edge to it. Bottom line is that I’m stoked for Rare if this is what I’m in for!

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Red Rocks Worship | The Rooftop EP

Placing roots just outside the mile high city, Red Rocks Worship is a collective of musicians who are on the worship team for Red Rocks Church in Littleton, Colorado. One of my roommates found a link a mutual friend of ours shared of the group’s latest EP recorded in a single session from a rooftop in downtown Denver. He started playing the last song, All I Want, and all of us were hooked. The finger plucked chord progression that transitions into stellar vocal performances, a surprisingly thick bass line, and well balanced percussion drew me into this record, because it brings worship into an inviting, intimate atmosphere. At this point in my life I can enjoy a big crowd with bombastic instrumentation in a packed sanctuary, but I’ve found that sense of the organic in times of worship with a few friends with nothing more than an acoustic guitar become some of the most memorable moments. The project starts out with Fill This Place, which begins dimly with bells, piano, and a guitar that sounds like it was recorded on a rainy day with Joshua Radin or The Weepies, but strong bass drums, and a robust set of musicians built this up into a release in electric guitars and powerful vocals. One Great Passion is the stylistic middle ground between the two, keeping a mid paced tempo and putting a foot in both poles on this album – ranging from the soft and acoustic to the big and booming. In the times I’ve reviewed worship music on this blog, I’ve always had to tag on a disclaimer that discusses my sentiments about worship music being corporatized and 12321567_1567863050129930_7679414217313514340_n ergo reduced to radio “hits” that carry little artistic merit. I still hold those assumptions to a certain degree, but the truth is that there is some well crafted worship music that’s been resuscitated by groups like Hillsong and Bethel. You just have to go looking for it. Other groups like The Dust of Men, Rivers and Robots, and Gungor have made prolific worship albums that are honest and heart filled. This is another one of those records that I can honestly say is convincing. Now that I’m in a spot where I’ve experienced some legitimately powerful times of worship, this kind of music is really starting to grow on me. Lyrically, this EP treads waters that are pretty familiar to most worship albums, musing through the sovereignty of God in difficult times and praise, but the highlight for me is a line in All I Want – “steal away my selfish gain, bringing Glory to Your name.” Being someone who wrestles with pride as part of my process of recovery, this line resonated well, especially when it’s back dropped against well-written music. The production quality reminds me of how well Bethel’s last album, We Will Not Be Shaken (everyone and their mother who likes worship music must listen to that album…. Even if you’re not into it that much, it will rock you), was done for it being a live record. After gaining insight from a good friend of mine about the engineering process behind live albums like such that involves additional synths to thicken the ambiance, the finished product can only be as good as the heart and soul of the original takes. My point is that this was recorded on a rooftop in a downtown district, which means the acoustics are not going to provide the same control as a studio environment, but they’re still stellar! Overall, this is a really diverse EP that has tunes good for a range of moods, environments, and moments of worship. I would definitely give this one a listen and an add to any worship playlist!

Oh, and honorable mention goes to a live version of Pursue (<—- LINK!) that’s mashed up with All I Need Is You from Hillsong Young & Free. I can only find it on Youtube and I have to give a shout out to my roommates for playing this!

 

Explosions In the Sky | Disintegration Anxiety

Aside from a few soundtracks written for a couple of Sundance films and Lone Survivor, I have been enduring radio silence from my favorite band for five years since they released, Take Care, Take Care, Take Care. After dwindling patience, quintessential instrumental rock outfit from Austin, Texas, Explosions In the Sky,12509094_10150599760549987_5072979378544854382_n.jpg have released a new single from their forthcoming record in April, The Wilderness. I’ve heard it said that post rock is limping from a lack of ingenuity since the late 1990’s and early 2000’s – basically that the genre is running dry on fresh ideas that are now being lathered, rinsed, and repeated nearly two decades since its prime. While, bands like Mogwai, If These Trees Could Talk, Godspeed You Black Emperor are maybe falling back on certain formulas that gained them notoriety, other groups like The World Is a Beautiful Place and I’m No Longer Afraid to Die (say that one five times fast) and Foxing are soldering post rock with emo and even punk to inject it with a shot of adrenaline. Now, Explosions, one of the premiere groups in this genre is turning it upside down… with electronica? I was honestly expecting the familiarity of shimmering guitar tones back dropped against field snare percussion, and bombastic crecendos, but instead Disintegration Anxiety begins with thick electronic sampling that combusts into a chaotic flurry of guitars and bass that remind me a lot of Kasabian and even some of the new Switchfoot. Dare I say it’s a bit of a head banger and I actually like this direction that the band is taking with this song that seems to go against the grain of the monotony of originality. It’s stylistically shedding skin without sacrificing any of the ambiance and build up that these guys are Jedi Masters at. I look forward to the rest of their album in April! Listen to it. It’s good. Like… really good.

 

Fit For an Autopsy | Absolute Hope, Absolute Hell

Hailing from the Jersey Shore and signed to eOne Music’s menacing roster, Fit For an Autopsy sank their teeth into deathcore when it first became a divisive sensation amongst metal fans in the mid 2000’s. Regardless of the particular subgenre’s fidelity, Fit For an Autopsy established themselves as heavy hitters to be reckoned with on the back of their slamming debut – The Process of Human Extermination (talk about family friendly title). While I was never into this band even during my most scathing phases of musical interest, they managed to weave their way through the underpinnings of some of my favorite heavier metal acts, like Whitechapel. Many of the bands I used to really be into all cite Fit For an Autopsy as a common denominator influence, so in a sense, I have to tip my hat to these Jersey boys for having a musical hand in a core section of my catalog during high school. What tipped me off to their new album, Absolute Hope, Absolute Hell is lead guitarist, Will Putney. Armed to the teeth with prolific production ability 12063694_1010270315670338_8148475741185813042_nand a crafty ear for catchy hooks with a lot of grit, Putney has been the man at the helm for some of my favorite bands, including Counterparts and Hundredth. In fact, I got the chance to talk to one of my favorite bands For Today‘s lead guitarist, Ryan Leitru, last October at their show in Minneapolis about what it was like for them to have Will Putney produce their new record. Leitru had nothing but good things to say, so it peaked my curiosity to see how he handled it with his own band. All of that talent dimly shines through an otherwise dark and visceral record. Absolute Hope, Absolute Hell undoubtedly lives up to the second half of its title with a calculated, down tuned storm of guitars, pummeling percussion, and a powerful vocal delivery from Joe Badolato. With plenty of breakdowns to go around for 40 minutes, this band has not completely shed the skin of their deathcore roots, but they make up for that with shrewd creativity and melodic tendencies on songs like Ghosts In the River, Out to Sea, and Swing the Axe. Other tracks like Wither and False Positive put the record in fourth gear and crank the intensity to warp ten with black metal influenced savagery. Lyrically, this dives face first into recycled, nihilistic themes of hatred and corruption, so I don’t connect with anything. For what it’s worth, this record tickles nostalgic tendencies from late high school and junior college when I was able to stomach bigger doses of it. Though I don’t find anything to resonate or leave a long lasting impression, it’s a brutal listen, written well, and has some earworm guitar licks. Check it out if you want to mosh with your friends in a living room (Trust me, it’s fun).

 

Sons of the East | Already Gone EP

Back with a set of new songs packed for a journey through a half hour of nimble acoustic/folk, Aussie trio Sons of the East have been slowly leaving musical footprints around the other corner of the world with old school folk flourishes and even a touch of their roots with indigenous instrumentation that will make you stomp your foot to the kick drum beat of songs like, Miramere. Acoustic/folk reminds me of hip-hop. A lot of contemporary artists within the genre can trace their sounds and influences to a handful of game changers who wrote catalytic and memorable music that still leaves their fingerprints in the thank you sections of records. Acoustic/folk is very similar. It lives in a house that Bob Dylan, Neil Young, and Crosby, Stills, and Nash built with mainstream success and 1374964_940893175995257_729486520242907147_n.jpg was given a renovation/facelift with modern artists like John Mayer and James Morrison. Though Sons of the East doesn’t join such prolific mainstream ranks of anyone previously mentioned, they for sure have the former to thank for paving the way for their style. Sons of the East definitely tip their hats and guitar picks to the legends that proceed them with the trademark elongated enunciated vocals of Bob Dylan from Nic Johnson and garnish their rootsy sound with the likes of Fleetwood Mac. Already Gone takes a lot of what really made me like them on their previous release and then reaches out in some different directions that still make for a cohesive listen. Songs like Into the Sun showcase the use of electric guitars and let Jack Rollins have a crack at the drivers seat leading vocals, which is a really nice change in pace. The title track is an upbeat ballad that begins with the tenor of Gregory Alan Isakov and includes some old key organ parts in the bridge that throws the song back to the 1960’s. The project continues in lineage of songs from their previous EP on tracks like Head For Home and Jacaranda Tree, both of which are packed with rich sounding tones and beautiful complimentary pianos. The Farmer speeds up the pace by the end of the album with a lively toe tapper reminiscent of anything from Mumford & Sons first two albums. This EP is a lot better produced and has more scope to it. It sounds fuller and the best part is that it doesn’t take away from the sense of the organic. Overall, I really enjoy this EP and the experimentation taken from the last release. I would highly recommend this album for anyone who wants some good acoustic tunes for coffee shops, windows down in the summer, or… yeah. Pretty much anything.