Phanatik - The Incredible Walk (Cross Movement) (2005)

Artist: Phanatik
Album: The Incredible Walk (Cross Movement)
Format: Audio CD MP3
Bitrate: ??? kbps

Track Listing:
1. B Side
2. Psych Check
3. Call Shabach (Interlude)
4. Me?
5. Shot Clock (Brand New Day)
6. The AmazinGrace
7. Odd Job
8. Press On
9. The Incredible Walk
10. Hip-Hop Music
11. Dirge Defined
12. Dirgy Dancing
13. Flood Waters (Interlude)
14. Grieved Again
15. Come Home
16. In Here
17. R & R
18. Hope in the Streetz

Album Review

Phanatik says The Incredible Walk is a play on words on the The Incredible Hulk. While you won't find any references to Dr. Bruce Banner and his oversized green persona other than in the cover art, the rapper does an admirable job of setting the main premise of Romans 7 — the conflict between the sinful nature of man and the perfect nature of God — against a street-smart backdrop.

While his lyrical style varies from syllabic and easy-to-understand to rapid-fire and metaphorical ("Psych Check" gives you a small sampling of the versatility of his flow), Phanatik for the most part keeps things straightforward and Christ-centered, but never clichd or forceful. The rapper's obvious forte is his sharp-toothed wordplay, a quality that the confident title track or the dizzying "The AmazinGrace" accentuate clearly.

Rhythmically, this Walk is less banger-heavy than your typical CM album, though some tracks will still liven up the dance floor with on-point resonance ("Dirgy Dancing"). But the emcee is equally adept at gliding atop the smoother ("Shot Clock"), more minimalist ("Press On"), or more underground material ("Me?"), getting progressively darker and more conversational as the album draws to a close. It's a trip well worth taking, courtesy of one of the more theological names in Christian hip-hop.

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David Crowder Band - A Collision (2005)

Artist: David Crowder Band
Album: A Collision
Format: Audio CD MP3
Bitrate: ??? kbps

Track Listing:
1. Everybody Wants to Go to Heaven (A Walk Down Stairs)
2. Come and Listen
3. Here Is Our King
4. Wholly Yours
5. Foreverandever Etc.
6. (A Quiet Interlude)
7. A Beautiful Collision
8. Soon I Will Be Done with the Troubles of the World
9. Be Lifted or Hope Rising
10. I Saw the Light
11. O God Where Are You Now (In Pickerel Lake? Pigeon? Marquette? Mackinaw?)
12. (B Quiet Interlude)
13. Do Not Move
14. Come Awake
15. You Are My Joy
16. Our Happy Home
17. (Repeat/Return) or When the Seventh Angel Sounded His Trumpet … [and so on]
18. We Win!
19. Rescue Is Coming (B Walk Down Stairs)
20. A Conversation
21. The Lark Ascending or (Perhaps More Accurately, I'm Trying to Make You Sing)

Album Review

Some albums demand attention, but occasionally one wallops you upside the head and overwhelms your senses. Fans apparently felt that way about Illuminate, the 2003 release that sold more than 200,000 copies and put David Crowder Band on the A-list of Christian music. As for those unimpressed with this popular modern worship band thus far, their minds might well change with A Collision.

An album like this is intimidating to review because it provides so much (73 minutes) to absorb, interpret, and comment on. Supposedly, Illuminate was deeply inspired by the properties of light as an illustration of the relationship between God and man, but the theme generally didn't manifest itself in the songs. Likewise, A Collision has little to do with tangential metaphors pertaining to atomic physics, but it's now clear that these illustrations aren't so much the focus as they are meant to stir ideas in tandem with the worshipful songwriting. This disc's tongue-in-cheek epilogue sums up Crowder's intentions best: he's just trying to make you sing and glorify God.

Nevertheless, the album's title comes from the band's concert sign-off: "Where our depravity meets His divinity it is a beautiful collision." This poetic expression of grace is explored further in "A Beautiful Collision," but I like to think the title is also a reference to the album's musical range—a broad Kingdom perspective that combines modern pop and rock with elements of alternative folk, bluegrass, and even a gospel spiritual. Crowder has divided the album into 4 parts, and each is worth exploring independently.

Part A is preparatory, invocative, and most comparable to what listeners have come to expect from David Crowder Band. It starts unconventionally with a brief, old-sounding cover of Loretta Lynn's "Everybody Wants to Go to Heaven," followed by a sparse piano 'n' strings call to worship, "Come and Listen." But after this prologue, the album really begins with radio single "Here Is Our King," an upbeat modern worship song very much like "O Praise Him," but rendered with more spirit. Ballad "Wholly Yours" gives worshipful wordplay on the title and a smart exhortation on grace: "But the harder I try, the more clearly can I feel the depth of our fall and the weight of it all/And so this might could be the most impossible thing/Your grandness in me making me clean." Then "Foreverandever Etc." concludes the chapter with an impressively produced praise punk rocker akin to "No One Like You."

The band already dazzles with improved sound and arrangements, but Part B demonstrates how much they've grown. Songs here touch on brokenness with Psalm-like uncertainty, prompting the band to mix styles with the emotions. A somber spiritual precedes the dark alt-pop of "Be Lifted/Hope Rising," which evolves into a joyful chorus of bluegrass. This is followed by a more traditional bluegrass cover—fiddles and all—of Hank Williams Sr.'s "I Saw the Light," performed with country great Marty Stuart. Then they cover Sufjan Stevens's melancholic-yet-hopeful "O God Where Are You Now," adapting the folksy sound for alt-pop with a simple-yet-transcendent sing-along chorus.

It's Part C that goes further to prove the band hasn't just broadened their sound, but also evolved it. After effectively setting up a time for reflection with the beautiful "(B Quiet Interlude)," they break into impressive art rock that reveals the influence of co-producer Tedd T. and their former tour-mates in Mute Math. These tracks revolve around becoming a new transformation through Christ, illustrated with "Come Awake," which begins with the EEG of a dying patient, only to awaken with an alarm clock during an awe-inspiring swell, and then concludes with a heartbeat. "Do Not Move" is a harder rocking cornucopia of alternative rock styles, "Our Happy Home" creatively adapts an old 17th century folk hymn to modern worship, and the uncommonly good "You Are My Joy" rivals the soaring Brit-pop of Coldplay's X&Y.

Part D is the least effective, though it provides a celebratory conclusion of encouragement. Like Matt Redman's "Undignified," the band resorts to their familiar penchant for dance rock with "We Win!" designed to pump up concert-goers. The giant arena rock ballad "Rescue Is Coming" is technically the finale, suggesting to the downtrodden that, "It's just enough to believe." The album ends with the aforementioned epilogue, a mock interview set to a Ralph Vaughn Williams composition that unfolds into a brief closing song—very clever, but perhaps not the track listeners will regularly return to.

This is the type of album that makes me go back to the beginning after it ends, because it's so epic, textured, and insightful. Even if it's not your cup of tea, A Collision is unquestionably ambitious and inspired, unlike any modern worship album to this point. Though the average congregation won't find new standards to add to their repertoire, A Collision is nonetheless an expression of worship—one so catchy and creative, fans will clamor to David Crowder Band concerts to sing praises to God at the top of their lungs.

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Delirious? - The Mission Bell (2005)

Artist: Delirious?
Album: The Mission Bell
Format: Audio CD
Bitrate: 320 kbps

Track Listing:
01. Stronger
02. Now Is The Time
03. Solid Rock
04. All This Time
05. Miracle Maker
06. Here I Am Send Me
07. Fires Burn
08. Our God Reigns
09. Love Is A Miracle
10. Paint The Town Red
11. Take Off My Shoes
12. I'll See You

Album Review

Delirious? return with their new album 'The Mission Bell'. If their previous album 'World Service' was intended to circle the globe with its message, 'The Mission Bell' continues that theme as the band prepare to "Ring the mission bell and storm the gates of hell" [Paint The Town Red]. Pleasing everyone might be 'Mission:Impossible', but with 'The Mission Bell' Delirious? truly reach out an arm and place it firmly around your shoulders with a finely balanced mix of the softly soothing and the raucously rocking. To put it another way, whether your preference is for rock, pop, ballad or worship, you'll find it all crafted into these twelve songs:

Stronger
"We're getting closer every day, chasing the dreams that heaven gave. Hallelujah here we come"
'Stronger' starts with an eerie string vibration reminiscent of 'Jesus Blood' followed by a simple guitar strum and Martin's voice. The drums join in gently building to a warm melody with trademark guitar, proving from the very first track that Delirious? are back in style. As the chorus takes off, an array of sounds make up the backing track, busy but without being cluttered. As Martin repeats the line "Oh I love you" a choir subtly starts to rise in the background. A well worked opener.

Now Is The Time
"The winds are blowing through again, so we must follow, the people daring to believe, we could change tomorrow."
This song has been re-recorded since it originally appeared on a promo CD. Originally it had a fairly slow tempo, but it has now been vastly improved by increasing they rhythm and recording some fantastic pure sounding guitars and drums that open the track. Martin's smoothly sung vocals kick in before the drums increase in intensity and the voice grows in strength, launching into the chorus: "Now is the time for us to shine". The pounding bass and well played keyboard and guitar riffs through out are fantastic. Later the song seamlessly moves into a much faster bridge, "Jesus, Jesus, precious Jesus", accompanied by a choir in the background. Martin then sings a series of urgent sounding lines as the song threatens to take off, followed by a superb guitar solo lasting a full 30 seconds.

Solid Rock
"There's a tower on a hill, it's always strong it will never shake, it was standing there before the world began"
With a country-fied cowboy style guitar twang that is instantly pleasing to the ear, this song slithers along with an almost blues style to it. The tempo is one of a slow march, until the strongly voiced chorus takes off. "On Christ the solid rock we will stand, all other ground is sinking ground" The slightly distorted almost slow-rap style bridge follows, sung by guest vocalist TOBYMAC. Foot tapping is irresistible and you'll want to join in with Stew as he gets wild with the drums. 'Solid Rock' is one of the highlights of the album and is near perfection.

All This Time
"All this time since the day I was born, I've never known a time like this. I don't want to let you down"
Martin and Stu share the softly sung vocals. Stu's lines are exceptionally deep and almost electronically sounding at times. It strolls along on a gentle level until the echoing words of "All this time" in the chorus release the song to its faster paced latter half. If the first half was slow, the second half is not so much fast, but alive. The chorus begs to be sung along to and the verses include wonderful lines such as "I can captivate an army but I can't control myself". You can practically visualise Stu stepping on the distortion pedal and coaxing his guitar into life. The song then returns to a more gentle feel, repeating the chorus line over and over but with such a beautiful bass, guitar and keyboard combination that the song refuses to let you lose interest.

Miracle Maker
"Holy You are Holy, Saviour, Healer, I'm standing at the feet of the Miracle Maker"
Beautifully moving piano and hushed vocals that are raw with emotion announce the start of this musical masterpiece. 'Miracle Maker' is a ballad created the way that only Delirious? can. Almost without you noticing the song suddenly turns into a loud rock track crying out to the Lord. If Charles Wesley had composed rock and roll songs, this is what it would have sounded like. It is without doubt stunning, especially when the soaring guitars give way to the orchestral strings and opera style choir. There is a 'goose bump' moment as Stu unleashes his electric guitar. Investigate meets Mountains High - simply incredible.

Here I am Send Me
"Let me hear a voice saying 'Who shall I send?', I'll say send me Lord I'll follow You to the end."
This song sets out its stall from the start. Stu opens the singing with fast paced vocals asking God to send a vision like He did to Isaiah and Ezekiel. The words read like a 'who's who' of the bible. In a good-cop/bad-cop technique the singing swaps to Martin for the lighter vocals in the chorus; "Here I am send me". Backed throughout by punchy guitars and rocking drums, half way through it feels like the song is about to explode. Near the end a pounding heart beat accompanies Martin as he continues to sing the chorus.

Fires Burn
"Jesus won't you take us home? Home is where the heart is"
Beautifully played piano and jungle style drums give this song a gentleness, enhanced by Martin's exquisitely sung lines. The centrepiece is an uplifting chorus which is both simple and catchy. A change in direction occurs when the mixture of guitar and drums is joined by quickly played strings. This is a track the feels much shorter than it is - a clear indication of its ability to consume the listener.

Our God Reigns
"A hundred million faces staring at the sky wondering if this HIV would ever pass them by"
This song's title might sound like a well known hymn, but don't expect this to be a medley of cover versions. Perhaps the band turned on the TV news when they sat down to write this song, including as many worldly tragedies as they could. Not skirting around controversy they sing about genocide, dieing babies and a "modern day disgrace". Martin sings lines such as "but still my Chinese take away could pay for someone's drugs" and "Nip and tuck if you have the bucks". The defiant chorus says "Our God reigns. forever Your kingdom reigns", standing out against the sins of earth. "God didn't screw up when He made you" Martin tells us. Strings and ebow are allowed extensive freedom in the middle of the song and anger is evident in Martin's voice as he ponders the harsh truth of reality. A notable strength is provided by the choir towards the end.

Love Is A Miracle
"You've given me everything, Love of my life. Forever I'll sing that love is a miracle"
Moody vocals backed by an equally moody tune, make way for the big gospel choir sound during the chorus; "Love is a miracle, Your mercy catches me when I fall, Love is such a miracle". Towards the end there's even a stereotypical 'preacher man' style sermon extract! It's the weakest track on the album, but is saved by the excellence of the underlying musical tone.

Paint The Town Red
"You know I feel our city's gonna shake now. And we hear you call every woman and man, "Ring the mission bell" and storm the gates of hell."
Part punk-rock, part brit-pop, 'Paint The Town Red' is sung with an urgency and is unlike any song Delirious? has ever performed before. The almost boisterous chorus of "ohh here we come, here we come, here we come" rings out like a football chant. The song comes to a standstill as a metallic guitar strums, before the ohh's return in the background as the screaming guitar continues. By far the shortest song on the album, it buzzes around your head all day long. "Ring ring ring ring the mission bell. Sing sing sing we've got a story to tell" shouts Martin as if he is hyperventilating.

Take Off My Shoes
"Why did You call? Why did You wait, for someone so guilty someone so fake?"
Opening with echoing simple guitar notes then a gentle beat and slowly played piano, there is nearly a full minute introduction before Martin starts to sing. This is a modern day hymn with a stunning simplicity. "So hold me, blow all the pride from my bones with Your fire" calls Martin in the chorus. This song is almost a minute longer than any other track, allowing for a Delirious? 'jamming moment' when guitar blends with drums, bass melts into keys and Martin's smoothly uttered words create a moment to marvel.

I'll See You
"I see You when the wind blows, running without fear. Born to rest in your Father's arms."
A simple acoustic song, combining the styles of Majesty and What A Friend, with an early U2 flavour added in for good measure. A faintly sung female voice gives a mellow Enya feel to the song as it gently bringing the album to a close.

Synopsis
Is it the best Delirious? album yet? It's difficult to say. It is incomparable to the likes of King of Fools, Mezzamorphis or Glo. Those albums were landmarks of their day, but The Mission Bell is set in a different time and demonstrates a different set of skills. Maturity oozes from every pore on this album. In 2001 Delirious? declared that their Audiolesson was Over, but with The Mission Bell they have truly graduated. The album plays to every strength the band has developed over the past decade together. With it's great use of strings and choirs, trademark guitars, bass and roaring drums and a stronger emphasis on the piano, this is a whole new side to Delirious? that shows progression to a greater level. Martin and Stu's vocals are the finest yet. Stand out tracks are probably Solid Rock, Miracle Maker and Here I Am Send Me, but All This Time and Fires Burn are not far behind. In the opening song, Delirious? sing "We're getting stronger every day" and they're not wrong.

Review from Delirious.org.uk

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Disciple - Disciple (2005)

Artist: Disciple
Album: Disciple

Format: Audio CD
Bitrate: 160 kbps

Track Listing:

01. The Wait Is Over
02. Stripped Away
03. Into Black
04. Only You
05. Rise Up
06. Worth It All
07. Shine Down
08. Falling Over
09. Go Ahead
10. Beautiful
11. Be The Quiet
12. Backstabber
13. All We Have Is Now
14. Hidden Track

Album Reviews

Straight out of Alcoa, Tennessee comes the long awaited new and debut mainstream release from southern rock quartet Disciple. The band's previous efforts of This Might Sting a Little, By God, and Back Again gave a new spin on the Christian metal scene. While their new self-titled album has similar elements from Back Again, they have taken a more direct approach with a smoother, more melodic sound. Some fans of their heavier material might need a couple of listens to enjoy it, but it has plenty of staying power that should please Disciple fans both old and new. Having just seen them recently in concert for the first time ever, it gave me a chance to experience the true passion and raw intensity of a Disciple show.Their self-titled project begins with the aptly titled "The Wait is Over," which is sort of a call-to-arms track with the chorus boasting, "We've been waiting so long, for this moment of all our lives, let it pour out." The melodies flow perfectly in many of the album's songs, such as "Stripped Away", "Go Ahead", and "Backstabber". The lyrical content is equally important as "Shinedown" has frontman Kevin Young singing, "Shine down on me if You're the One who loved me before." Not surprising is the fact that even the album's lighter moments are true and honest worship, especially the ballad "Beautiful." The biggest highlights on Disciple would have to be the songs "Rise Up" and "All We Have," which not only have thought-provoking messages, but also contain solid alterna-rock hooks that make it impossible not to give them additional listens just for the arrangements alone. There's no doubt that many emotions are poured out in several of the tracks with heart-felt screams and amazingly polished vocal talent.

One constant factor, as with any Disciple album, is that the band never fails to express their faith and dedication to God throughout a great majority of their songs. If you have yet to see them on the Rise Up Tour, you're missing out because Disciple packs a ton of energy into any concert they are a part of, regardless of how long or short a set they perform.

Disciple's self-titled effort is one of the most anticipated releases of the Summer and is a remarkable stepping stone in the continued maturity of a long-standing veteran hard rock band.

Reviews from Jesusfreakhideout.com

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Petra - Petra Farewell (2005)

Artist: Petra
Album: Petra Farewell
Format: Audio CD
Bitrate: ???

Track Listing:
01. All About Who You Know
02. Dance
03. Amazing Grace
04. Test Of Time
05. Creed
06. Right Place
07. Rock Medley:
Sight Unseen
It Is Finished
Think Twice
I Am On The Rock
Midnight Oil
Mine Field
This Means War

08. Jekyll & Hyde
09. Acoustic Set:
Rose Colored Stained Glass Windows
Road To Zion
More Power To Ya
For Annie
No Doubt
The Coloring Song
Love

10. Grave Robber
11. Keyboard Solo
12. Beyond Belief
13. Guitar Solo
14. He Came, He Saw, He Conquered

Album Reviews

Petra is my first favourite christian rock band. If there's one band whose name conjures up images of pure, passionate, power-packed rock and roll, it's Petra. They've whisked listeners away on a wild ride since the heartbeat of the band began years ago. And more than 7 million records sold, four Grammy Awards, ten Dove Awards and an induction into the Gospel Music Hall of Fame certainly solidifies the fact that Petra was no one-trick pony. And that momentum never stopped as the group helped define the rock genre for a whole generation of music lovers, perhaps more so than any other Christian rock act that has followed in its historic path.

"The key thing for us has been to know what our calling is," says Bob Hartman, Petra's founder, guitarist and primary songwriter. "Going all the way back to the beginning, that's how we learned who we were—from our roots. It's the basis for what we do, and having that foundation in place has helped us to never take for granted what we're doing and to always realize it's a gift from God."

There aren't too many bands today who can boast the kind of far-reaching legacy that comes with a 30-year exploding career as one of contemporary Christian music's most influential pioneering artists. Petra emerged in the 1970s with its own distinct style, unleashing a raw power that cemented its growing reputation as a band of innovators—mavericks in the exploding contemporary Christian music marketplace.

But if you thought you knew them then…think again. All history aside, this band is just getting started. As Petra releases its 20th studio recording, arguably its most aggressive rock album to date, Jekyll and Hyde, it continues to push the sonic envelope in huge ways. "It seems strange to say that this is our most aggressive rock record, but I truly believe it is," says Petra lead singer John Schlitt. "We're excited to do a project that sounds the way this one does. Petra fans have been wanting a rock album like this. They've asked for it, and they're getting it."

Going against all musical trends, Petra stepped up to the plate this time around with an unbridled attitude that resulted in new energy. Jekyll and Hyde is nothing less than an exhilarating ride that showcases a hard-driving, robust wall of sound more powerful than anything ever heard on a Petra album before now.

"There are huge guitars and a no-holds-barred attitude," adds Hartman, who has re-joined the group and is touring as Petra's lead guitarist for the first time in seven years. "It's just big-time rock. We've been waiting for a while to do an album like this, so everything that's been pent up inside is coming out right here in this music."

Jekyll and Hyde is Petra's second album on Inpop Records (a follow-up to 2001's Revival) and was produced by Newsboys frontman and Inpop co-owner, Peter Furler. It was Furler's first time working with Petra in a producer's role, and he also added his own signature drumming to the album's collection of aggressive rock tracks.

"I think almost everyone has a 'Petra' story or can remember the first time they heard the band," says Furler. "Petra has played a very important role in our industry and paved the way for bands like Newsboys."

"Peter did a great job helping us select the songs and the different musical elements to incorporate," Hartman adds. "Having that outside perspective from someone like Peter has helped. And at the same time, when I hear this album, it's really Petra."

Jekyll and Hyde's title track is an intriguing look at the internal battle between right and wrong, according to Hartman. "It's about the fighting that goes on inside of us. It's like when Paul said, 'The things I want to do are the things I don't do, and the things I don't want to do are the things that I do.' 'Jekyll and Hyde' is the personification of that struggle."

"'Til Everything I Do," is a gritty, mid-tempo track that says 'Til everything I do I do for You/ Through every test of faith You take me through / 'Til every path I take is straight and true / 'Til everything I do I do for You. "All About Who You Know" is an unabashed rock anthem complete with bold guitar riffs and Schlitt's power-packed vocals. Some of the album's other many highlights include songs like "Test of Time," "Would'a, Should'a, Could'a," "Stand," "Perfect World," "Sacred Trust," "Life As We Know It" and the worshipful, "I Will Seek You."

"These songs have been so fun to record," says Schlitt, "and I can't wait until we get to take them to a live setting. This is one of those albums on which every song is a great song to perform live. It's fresh, new, aggressive material, and we're having a blast with it."

"I continually marvel at the miracle that happens with the songs we record," Hartman admits. "When I sit down to write a song, I'm usually alone in my basement. So to see it put on a recording and sent out all over the world, and to hear that people are affected by it, is always amazing to me."

Hartman's return to the Petra stage is something he's eager to do, and rightly so. It is Petra's live show that earned the group its formidable fan base of supporters (also known as "Petheads"). "It's been really fun for me to go back out on the road again," says Hartman. "Everything you go through out on the road is all for that couple of hours on stage. It's all about that—and that's the part that I really missed."

"When we're on the road playing concerts, we're constantly reminded of the importance of getting on stage and representing Christ," Schlitt adds. "We found out early on that when we can lead an audience through an evening of entertainment and bring them to a focus on worship—that's the point when God really begins to work. That's when people are truly impacted, and it can be a life-changing experience. That's really what is most important about who we are and why we're still doing what we do."

Sonically passionate, unapologetic, and even a little unruly, Jekyll and Hyde runs thick with spiritual truths and adds a whole new dimension to Petra's musical repertoire. It marks yet another milestone in this group's history, and creates an excitement and collective hunger about what the future holds for this band of rock and roll pace-setters.

All in all, Farewell is a nice project to finish off the band’s extensive album discography. Many classic songs are played, two former members make guest appearances, and the band still plays enjoyably well (Bob Hartman anyone?). If you are a fan of Petra in any shape or form, definitely pick this one up. Not only will it tie you over for the live DVD releasing later this year, but it’s a solid, tasteful look back at the lengthy career of one of the industry’s most respected artists.

Review compound from Christianitytoday.com and Renownmagazine.com

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Thousand Foot Krutch - The Art Of Breaking (2005)

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Relient K - Apathetic EP (2005)

Artist: Relient K
Album: Heart Of The Innocent
Format: Audio CD
Bitrate: VBR around 200 kbps

Track Listing:
1. The Truth
2. Apathetic Way to Be
3. Be My Escape (acoustic)
4. Which to Bury, Us or the Hatchet (acoustic)
5. Over Thinking (acoustic)
6. In Like a Lion (Always Winter)
7. The Thief

Album Reviews

Relient K’s last release, MmmHmm was somewhat of a gem in my eyes. Not the record that changes the way you think of music or that revolutionizes a genre, but a diamond in the rough by way of quality and scope. We’ve all heard power chords and pianos mesh before to make the drippiest pop-punk possible, but there was something about the way Relient K pulled it off that boasted dignity and elegance. The K boys showcased a boatload of heart, predominantly on the sleeve, and that certain passionate spark that this band has flaunted from day one. The guitar riffs were crisp and convicting and the piano parts composed masterfully and bursting with passive emotion. Religious affiliation or not, MmmHmm is easily one of the best pop-punk albums released in the past few years, and Relient K are easily one of the current champions of the genre. Their last release left fans with only one desire… MORE! Fans demand – band answers: Apathetic EP.

A portion of this hefty little package contains a handful of songs that, while new, don’t stray more than an inch from the material on MmmHmm. The song style and recording nuance are identical, so I’m tempted to refer to them as b-sides but I don’t want to indicate any lack of quality. The new tunes are essentially on par with those on the last release. I’m certainly glad to hear more material along these same lines, but I do hope that Relient K make an attempt to alter their sound in some way before we see the likes of a new full length. “Over Thinking” and “The Thief” are both breathtaking, and reassure the notion that Relient K have a knack for balladry, and are savvy in soothing.

The Apathetic EP also offers an acoustic take on two of MmmHmm’s highlight tracks; the popular single “Be My Escape” and my personal favorite “Which to Bury, Us or the Hatchet.” Like most of that album these songs were originally pulsing with energy and uptempo rhythm and they suffer here without that edge. It’s definitely a treat to hear them in a different format, and “Be My Escape” works quite well, however, “Which to Bury, Us or the Hatchet” might be the most passionately intense track from that album and frankly, it just loses its resonance in this softer shade. The bridge is supposed to explode and here it dwindles, also, where is the piano outro? Bottom line: it sounds decent, but would get its ass kicked by the original.

Relient K must have 6-8 Christmas songs to their name already, including an exclusive Christmas EP but they’ve charmed us once more with their most heartfelt ode to the holiday season yet. If you’re as much a sucker for these babies as I, then know that this Christmas song is among the best for the genre, especially being an original composition rather than a cover. Despite the depressing direction it will fill your heart with feeling and yuletide spirit, even if that means crying next to the Christmas Tree. (Go Jews!)

There is no apathy here. Relient K are still making songs with as much care and emotion as ever, and this EP is worth your money. Hopefully it serves as a stepping stone to a more developed future full length that will outdo any Relient release of the past. Fans of Relient K shouldn’t have a second thought about making this purchase. And if you’re not a fan, reconsider MmmHmm and if/when you do fall in love, the Apathetic EP will be waiting to satiate your craving.

Review from Absolutepunk.net

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Andy Hunter - Life (2005)

Artist: Andy Hunter
Album: Life
Format: Audio CD
Bitrate: 192 kbps

Track Listing:
1. Open My Eyes
2. Come On
3. Alive
4. Wonderful
5. Lifelight
6. To Life, To Love

Album Reviews

There aren't a whole lot of Christian club DJs, let alone one that's been able to impact the world to the degree of England's Andy Hunter. The forerunner has been a headliner within the U.K. club scene for the last several years, releasing his 2002 debut Exodus on both Sparrow and secular label Nettwerk America. Tracks from that repertoire have ended up in films like The Matrix: Reloaded, Lara Croft: Tomb Raider 2 and The Recruit, along with ABC's "Alias" and MTV's "Tough Enough." Despite all that secular exposure, Hunter's music remains quite faith-centric.

Though his second offering Life is being marketed as an EP, the six songs average 6-8 minutes each; do the math, and that's more music than other full-length discs. On the CD, Hunter's relevance behind the turntables and programming co-exists with an unhindered ministry platform—like in "Come On," an explosive tune in which Hunter references the Lord's Prayer with mantra-like doses of the phrase "your kingdom come." Even more overt is the comparatively subdued, praise tinged "Wonderful," which blends lines like, "You're beautiful, you're the reason why/So wonderful, you make me high" with ethereal arrangements.

"Open My Eyes" develops an instrumental '80s feel reminiscent of New Order or Pet Shop Boys. "Life Light" and "To Life to Love" jump back into the present, recalling the likes of The Chemical Brothers, Prodigy or BT. But "Alive" is the album's most life-affirming cut, during which Hunter actually samples his son's heartbeat while still in the womb. All of these clever and inspiring ideas translate to an EP that's not just some tease until the next album, but rather an essential addition to any dance/electronica collection.

Review from Christianity Today.com

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Blindside - The Great Depression (2005)

Artist: Blindside
Album: The Great Depression
Format: Audio CD
Bitrate: ???

Track Listing:
1. The Great Depression
2. This Is A Heart Attack
3. Ask Me Now
4. We're All Going To Die
5. Yamkela
6. Put Back The Stars
7. Fell In Love With The Game
8. City Lights
9. We Are To Follow
10. You Must Be Bleeding Under Your Eyelids
11. My Alibi
12. Come To Rest (Hesychia)
13. This Time
14. When I Remember

Album Review

When Swedish rockers Blindside presented their label debut under Elektra Records and P.O.D.'s short-lived 3 Point imprint, the group seemed poised for big things. The album was well-received by the press and fans, and tours with Linkin Park, Hoobastank, and their benefactors only served to magnify their exposure. But due to massive restructuring at the Warner Music Group, Elektra folded into Atlantic Records, leaving bands such as Blindside lost in the shuffle. Add to that a wrecked tour bus and stolen equipment during 2004's Internal Storm Tour, and it clearly wasn't a sunny year for the foursome.

Yet it wasn't these many misfortunes that inspired the title of Blindside's fifth album, The Great Depression. Earlier this year, vocalist Christian Lindskog and his wife took a missionary trip to South Africa to experience first-hand the different maladies afflicting the continent. They saw how the plights of AIDS and poverty were killing young people in droves, and that struck a chord with them. However, Lindskog looked a little deeper and concluded the Western world is dying at a similarly rapid pace, though of entirely different causes.

With this in mind, The Great Depression became a somber concept album of sorts. Yes, the band is draped in 1920's garb on the album cover, but don't think for a minute they've gone from hardcore to big band jazz. This music is still not for the faint of heart. The band still screams and thrashes about. But if there's a point of disparity between the Blindside of two albums ago and the post-Elektra Blindside, it's how the band has regressed in the way they present their music. Instead of keeping up with the grand, no-holds-barred sound of Silence and About a Burning Fire, they scale back their sonics to match their earlier Blindside and A Thought Crushed My Mind days. Long-time fans may view that as a plus, but for a band with Blindside's talent, it's more like a step back.

To be fair, Lindskog and Co. do commit great ideas to disc, and everything that makes it onto Depression is a pattern that has worked before. Take the post-hardcore feel of "This Is a Heart Attack," with its half-sung/half-screamed chorus, its militant guitars, and its strangely paced musical bridge. "Put Back the Stars" is akin to "Sleepwalking" in the emotional punch it packs, transitioning gracefully from a hardcore massacre to a melodic lullaby. "Yemkela" is a frenetic, blood-curdling reading of "Time Will Change Your Heart." Both the first single "Fell in Love with the Game" and rocker "We Are to Follow" are as metallically infectious as anything on About a Burning Fire. Even as the band winds down in speed and intensity on the back half of the disc ("My Alibi," "This Time"), it recalls Silence's most ominous moments.

On the lyrical front, Lindskog is still an atypical wordsmith, willing to express his creeds and thought processes with imagery and metaphors that are full of vibrancy. He's able to express devotion and longing for God without being trite ("Ask Me Now"). He wrestles with God while he battles self ("Fell in Love with the Game"). He asks Jesus to be his Advocate at the end of time ("My Alibi"). And he does these things as though he were dialoging with the Almighty. As a social commentator, he decries materialism and the media ("We Are to Follow"), the troubles of our youth ("We're All Going to Die"), and the misery that he witnessed in Africa ("Yemkela").

Blindside's newest release lacks the blistering intensity and creativity of their previous albums. Where their earlier Tooth & Nail albums displayed the band's aptitudes at their most raw, their Elektra counterparts sanded down the rough edges and polished the group's methodology without robbing them of their hardcore credibility. Silence, in particular, was groundbreaking for the way it incessantly toyed with mind-boggling time signature changes and tempo shifts, with Lindskog switching from singing to melodic screaming and effortless visceral shrieking. All of this is present on The Great Depression, but to a much lesser scale and in a fashion that's disappointingly underproduced. Blindside's music was always meant to be played loud, but with an album this coarse, it's tough to do so without getting a headache.

Review from ChristianityToday.com

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