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Editorial

Abandon Kansas

Number One Gun

Switchfoot

Leeland

Hillsong United

Anberlin

Mutemath

P.O.D.

A Day to Remember

Sent By Ravens

Starfield

The Classic Crime

Nevertheless

Summary

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EditorialALTERNATIVE WAY MAGAZINE

HZ Publisher1st Edition - May 2011

DIRECTOR:Lucas Hertz

CHEF REDATOR:Lucas Hertz

CHEF EDITOR:Lucas Hertz

ART DIRECTOR:Lucas Hertz

PHOTOGRAPHY:Lucas Hertz / All Rights Reserved

HZ PublisherBorges de Medeiros Street, 2230 - Center

Porto Alegre - RS - Brazil - 91739-304www.alternativeway.com

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WHO?Abandon Kansas is a Wichita quartet signed to Gotee Records. The six-song EP We’re All Going Somewhere is their sixth release, their debut offering on Gotee and was produced by Mark Lee Townsend (Deas Vail, Relient K, House of Heroes). To date the band has logged 300+ tour dates per year and has won over fans with an energetic live show. They have shared the stage with The Red Jumpsuit Apparatus, As Cities Burn and The Classic Crime, to name but a few.

HOW IS IT?Absolutely terrific. Bristling with poise, polish and passion, the six-song treat is bursting with radio-ready hooks and chart-topping cheekiness. Album opener “The Harder They Fall,” is a snappy, full-throttle rocker that leaps from the speakers. Mid-tempo second track, “I Wonder If Its Me” remarks on traveling the country and the rigors of touring, anchored by the lines, “Country kids want the city, city kids want the trees.” The EPs fourth song and title track “We’re All Going Somewhere” just might be its best. Punchy, passionate and bombastic, “We’re All Going Somewhere,” is an absolute knockout and the kind of song A and R reps dream about. From there the album continues in much the same formula, kicking with fiery drums, urgent guitars and vocalist Spring’’s near perfect crooning. Of the album’s last two offerings, the more memorable is closer “Close Your Eyes,” whose horribly boring title is actually a misnomer for a rather engaging song.

Lyrically the band isn’t exactly treading new ground. On “Make Believe,” Spring sings, “I could use two lives/think of the things that we could get done/having two lives would be so much better than

one/one for the things I have to do, one for the things I really want to,” and while it’s a nice concept it isn’t exactly the stuff of legends. Being that the group is a Christian outfit, the lyrics at times do give way to mentions of Christ, God and You, but the group seem to do so in a way that isn’t alienating, preachy or effusive.

If the band has a strength it is most definitely the vocals of Jeremy Spring, who sounds like an undeniable mix of Jonathan Foreman and Isaac Slade. Ripe with maturity, presence and swagger, Spring sings with conviction, clarity and crystalline efficiency. That this is the band’s strength is also why the EP is also somewhat disappointing. Never once does the album slow down or yield to a ballad. Never once does Abandon Kansas display their diversity, show off their range or better yet let Spring’s vocals use their lower register or showcase its tenderness. While there are a few moments during various verses where Spring has a few moments of deviation, there’s never a prolonged sense of placidity or calm.

That being said, We’re All Going Somewhere is a tremendous release from a band that seems almost certain to have their songs played on radio stations. We’re All Going Somewhere is a truly terrific effort from a truly terrific band.

Track Listing 1.The Harder They Fall (3:50)2. I Wonder If It’s Me (3:28)3. Make Believe (3:58)4. We’re All Going Somewhere (4:00)5. Months And Years (3:42)6. Close Your Eyes (3:54)

A We’re All Going Somewhere EP Album Review

Abandon Kansas

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Recommended If You Like:Switchfoot, SafetySuit, needtobreathe, Acceptance

Abandon Kansas

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Number OneGun

In 2008, Number One Gun entered uncharted territory as the band transitioned into a solo project with leader Jeff Schneeweis. Speculation rose if this would be an end or a fresh beginning. After two years, Number One Gun is ready to continue with the forthcoming release To The Secrets And Knowledge, which gives the listener a creative, talent-filled album.On the previous project, Schneeweis played around with the typical “band” sound and formulas; however, with To The Secrets And Knowledge, he has expanded further on this experiment with new sounds and formulas. Like The North Pole Project, he has recorded each song from top to bottom before moving on to the next

track. In this manner he also did all vocals & instrument parts - yet, one would never know from the fullness of the sound and quality.

“With The North Pole Project, I built on the standard band formula of guitar riffs and choruses,” shares Schneeweis. “Yet, this time around I wanted to really get away from those standard ‘band’ sounds and play around with a different vibe. I ended up using the computer more, adding in electronic blended elements and investigating sounds.”

This experimenting paid off with the opening track “The Victory,” which ended up being Schneeweis’ favorite track on the

album. “I remember recording this song and going outside the box. I tried to blend the electronic sounds to create a specific vibe. I have an emotional attachment to this song after it’s all said and done.”

Another sonically unique track, “Noises,” opens with a single beat and echoing voices building in the background resulting in a haunting sound as Schneeweis’ vocals overlap throughout the song. “‘Noises’ was the first and last song I recorded on this album,” he said. “I started with a sound I knew I wanted to capture but then stopped and recorded the rest of the record. Months later, I went back to finish the song after there wasn’t as much pressure.”

7As a full-time producer in his hometown of Chico, California, Schneeweis recorded this album in between other projects such as Secret & Whisper, Hawthorne Heights, Esterlyn and indie band Brighten. This spontaneous writing and recording process resulted in a eclectic collection of songs with a running theme of finding hidden treasures in each of us. The debut radio single, “Forest,”

was written with his two-year-old daughter in mind and what she will encounter when she begins school. Excitement, the fear of the unknown, and the bigness of life are feelings one has when starting a new adventure or charting unknown territory. “I’ve gotta figure out why the world is so big / I’ve gone way way out way out of bounds / I’ll do anything, tell me how.”

Recommended If You Like:Anberlin, Hawk Nelson, TCC

“I did this record for me. I wanted to push myself musically and on the production side of things. Because I feel like I accomplished what I set out to do with this album, I’m open to seeing what the listeners will walk away with. I hope it inspires something within themselves.”

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SwitchfootAfter playing by Columbia/Sony BMG Records’ rules on their past few albums, the members of Switchfoot have rediscovered creative freedom. Frontman Jon Foreman candidly stated they “wanted to start with a clean slate because the last couple of records felt kind of compromised.” One can imagine that the record execs wanted an album chock full of radio hits that follow a pretty common format, and while Switchfoot’s 7th studio album Hello Hurricane comes close to that ideal, it’s obvious that the quintet wanted to get a bit more artsy in the process. There’s an underlying pop-rock

vibe that is the driving force behind the CD, but Switchfoot still shows off their experimental side in a big way.

Small indications of that experimentation are apparent in a track like “Needle and Haystack Life,” which immediately introduces a much richer guitar tone that we’ve heard from the band in the past. While that particular song still sounds like a perfect fit to play over the credits of any random hip TV show, “Mess Of Me” begins to take the album in a more intriguing direction. If you prefer the edgier, more straight-up rock side to

Switchfoot, you’ll love “Mess Of Me.” Starting off with a sonic, distortion-seeped guitar hook, it also features an interesting arrangement in which a cappella vocal lines often trade off with the rest of the instrumentation.

It’s very likely that Foreman and his bandmates had a ball playing around with various effects/synth equipment. There’s been a quote going around regarding how Hello Hurricane delves deeper into both the band’s acoustic and electronic sides. As odd as it sounds, it’s an accurate statement. Not every song includes this combo, of

A Hello Hurricane Album Review

9course, but the album is full of paradoxes to be sure. A song like “Sing It Out” is an aural free-for-all, starting out with some eerie Pink Floyd-like crying guitar effects. The bass line is the guiding force underneath Foreman’s solemn vocal work (which is also eventually joined by a string section), and you’ll even hear a subtle robotic-like vocal line mirroring his lyrics. There’s also a lengthy, fairly ghostly instrumental outro that sounds to be primarily synth work.

While “Mess Of Me” and “This Is The Sound” are the big rock numbers, the mellower offerings take up the bulk of the album. “Enough” is just a little too predictable in comparison with the rest of the tracks, but it does score points for its sentimental factor. “Your Love Is A Song” begins by being a fully electric ballad, but the band quickly strips everything down to only an acoustic and vocals. There are a few transitions of that sort in not only “This Is The Sound,” but in

songs scattered throughout the CD. The acoustic doesn’t always take the spotlight on the ballads, however, and you’ll notice that Switchfoot became fond of a keyboard effect that produces a chiming effect that you might hear in a nursery rhyme. It’s the little details like those which indicate that Switchfoot is truly attempting to think outside of the box. // 8

LYRICS AND SINGING:There’s a common theme that runs throughout Hello Hurricane, namely that of self reflection. Whether Foreman expresses, “I still believe you can save me from me” or “the sickness is myself…I made a mess of me,” the album probably had a cathartic effect for the singer/songwriter. The main issue is that there is a fair share of the normal/typical rhyming patterns (“I’ve got my back against the wall; I can still hear the blue sky call”), and that often becomes distracting. The candid themes relayed, however, allow you to often overlook any

predictable rhymes that show up on the record. // 7

IMPRESSIONRecalling Switchfoot’s big hits from The Beautiful Letdown (“Meant To Live” and “Dare You To Move”), there does seem to be creative growth for the San Diego natives. While it’s fascinating to hear what effects, drum tracks, sampling are chosen (and where they are placed), it’s just as satisfying to hear a dirty riff show up in the middle of Hello Hurricane. Somehow with all of the experimentation, Switchfoot still manages to sound commercially acceptable. The band didn’t necessarily play by a major label’s rules this time around, it would still be no surprise if a number of Hello Hurricane’s tracks find Billboard success.

Recommended If You Like:Anberlin, U2, United, TCC

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Typically, the third full-length album in a band’s career is a pivotal one. That mostly has to do with the dreaded term ‘sophomore slump’ and all its implications but with The Classic Crime we don’t have to worry about that. Instead, they have to find some way to follow up the excellent

The Silver Cord. That brings us to Vagabonds, a catchy album in its own right but a stylistically different one from its predecessor. Whereas The Silver Cord was a collection of powerful songs based around a loose concept, this one seems destined to be played in arenas with anthemic rock choruses at every turn. Even the ballads are upbeat and engaging. Make no mistake about it, Vagabonds is an album meant to be played live in front of an energetic crowd.

In the first song, ‘A Perfect Voice’, you will hear just what I mean. It’s a simple two-chord song with an upbeat chorus and a flurry of ‘ooh oh

TheClassicCrime

Vagabonds Album Review

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TheClassicCrime

ooh oh’s making it impossible to not want to join in. You may as well get used to those ooh oh’s too because they are peppered all over the album with solid backing vocal harmonies like they’ve never had before. Then you have the classic rock inspired ‘Solar Powered Life’ that features an interesting exchange between the vocalist and a response from the guitar with a southern rock vibe. It definitely reminds me of something Led Zeppelin did on occasion. Then at the bridge everything slows down and the cow bell comes in clearly. Unfortunately the song is over before it begins, its one true fault, but it’s a blast to listen to.

Matt truly has a unique voice and he has always had a knack for finding the perfect vocal hook in choruses or addictive styles to sing with and they are most apparent in ‘Vagabonds’ and ‘The Happy Nihilist’. The former, of which, he does a fantastic job of matching the creative guitar chords and he shows off his range in the chorus. It should also be said that the drumming by Paul is spot on for the anthemic songs and often he adds little touches to give a track another unique sound. Speaking of catchy, nothing on this album is more infectious than the way Matt sings the verses in ‘The Happy Nihilist’. It instantly jumps out at you as he deftly carries the whole song at the beginning with minimal sounds from the other instruments to back him up. Then there is a perfect buildup to the end where Matt just unleashes the lyrics rapidly and tops it off with some light screaming. The star t and stop drum beat also makes me feel

this would be an awesome song timed to strobe lights.

The band has been on record in saying that they don’t like being cornered as a Christian band and that’s reflected in the lyrics. You will rarely hear any direct references to God but if you listen closely you’ll find all sorts of clues to their beliefs. Sometimes those subtle moments you notice make the song all the more enjoyable though. Take the mammoth ballad ‘My Name’, for instance, where Matt passionately sings in the first verse:

“I have seen my own gravestone and worshipped the golden statue I have made my bear in the lion’s den and walked in dead man’s shoes.”

Then in the chorus, amidst moving string arrangements and strong backing vocals, he triumphantly declares:

“I will walk through the fire/I will not be afraid. They can take everything that I have/they can’t give me my name.

It’s all brilliantly pieced together and might just be their best ballad yet. After that the next few songs are hit and miss. ‘The Count’ is another one of my favorites though, thanks to the fact it sounds more in line with The Silver Cord than anything else. It’s easily the most complex song on the album with multiple time signatures and a larger-than-life chorus that you can’t help but fall in love with. Of all the songs on Vagabonds this is the one I’d want to hear live the most. So much is going on that it’s basically like an aural circus. It is also perfectly placed

in the tracklist among simpler songs.

Overall: So far Vagabonds is the best anthemic rock release of the year and hopefully it’s one that launches their career fur ther ahead. However, for those looking for more of the same style as The Silver Cord they may be a bit disappointed. This really isn’t so much of a progression as it is a revamping of their sound. That being said, it seems like The Classic Crime are having more fun than ever and there’s no doubt their live shows will be even more frantic than before. The lasting appeal of this album will be lacking with little diversity in the tracks and the overall sound though. While it may be a fun spin, it won’t be something that will leave an impression outside of the standout tracks.

Gems of this album are: ‘The Happy Nihilist’, ‘The Count’, ‘Solar Powered Life’, ‘Vagabonds’, ‘My Name’

Recommended If You Like:Anberlin, Hawk Nelson,This Beautiful Republic

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NeverthelessNevertheless debuted with an independent album in 2005 and one year later had already moved up to a major label with the release of “Live like we’re alive.” Now with the release of their third project, “In the Making,” they are continuing to make their mark on the Christian music world. “In the Making,” while less edgy than its earlier counter parts, is still a true mark of good music. The lyrics are full of emotion, and the songs reflect the lives, values, and experiences of band members personally. It’s good when a band is willing to tell the fans where they are in life and what they are learning. “In the Making” is a successful attempt to do just that. Guitarist AJ Cheek expressed his opinion about the new direction of the band in a press release,

saying, “We intentionally sought to progress in how our record would sound this time. It’s not a complete departure from the last records’ sound, but more an accent of it, with a bit more depth of emotion.”

“Sleeping In” kicks off the album as a song of encouragement for those facing their various insecurities. “You caught me sleeping in, / I’m still hiding, I’m still waiting. / I need you here with me to face the world outside. / Cause I’m tired of sleeping in. / Open up my eyes / I’m tired of sleeping in a world that’s dying to wake up!”

The second track, “It’s True,” is about the things we do that hurt God and tear us away from Him.

Even though we sin over and over again, this song reminds us that “Your grace is unstoppable / It’s bigger than what we’ve done / or how we feel / It’s true…” We can’t mess up God’ plan for our lives, no matter how hard we try. Even if our lives seem to be spinning out of control, they are not out of God’s control.

One of the album’s highlights is a very original song entitled, “Topics.” It’s about secrets that teenagers and students are afraid to tell anyone. The band members stated that while on the road, kids will tell them things that they are afraid to tell their parents or church leaders. They are afraid of ridicule or negative reactions. So in the mean time they are in trouble and won’t ask

In the MAking Album Review

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for help. This song is saying that we shouldn’t close our eyes to the truth of what is happening to our kids, and we should be ready to help and love them through whatever problems they are having, not reject them for their failures. It’s always best to confide in someone who loves you when you are having a problem. “We avoid the topics, / we make the kids have secrets, / and when they are exposed and everyone else knows, / we say we never knew it, / that they had a problem, / cuz if we would have known, / we surely would have solved it. / But we can’t. It’s too late. / God, you’ve got to save us…” This song is great because it is asking people to open their eyes to what is really happening. Don’t close your eyes and pretend that nothing is wrong. Face the

problems so you can help your youth face them and get through them too.

The last two songs, “When I’m alone,” and “Found my way back again,” speak to those who are living through difficult times. Sometimes there seems like no hope in a desperate situation. But with Christ, there is always hope. “Take me out of the dark, out of the place where I fell, and back with you…Just let Him in, let Him in tonight.” The music is slow and sweet, and full of comfort. There will be a time in everyone’s life where there is only one person who can pull you out of the miry clay, and that’s Jesus.

CLOSING THOUGHTSIn a press release, Josh Pearson says, “I believe that we are called

to write about both the light that shines in the darkness, and about the darkness that does not understand it. I believe that honesty always breaks down walls. Healing begins when we are able to, first of all, be honest before God. Secondly, be honest and vulnerable with one another. I hope that our songs reflect this idea, and that, when people listen to Nevertheless, they get a sense that God loves them, and wants to talk to them.”

Listeners should get exactly that: a good sense that God loves them, and He alone can and will heal. Over all, I really enjoyed this album, and the messages of hope and endurance should be something that draws many young Christians to this band.

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Leeland

For some reason it seems that it was only a year ago that Leeland released their sophomore album Opposite Way. Well that's probably because it was only last spring when Leeland put out their second album. Skipping straight to the punch line, it seems that Leeland's quick follow-up album, Love Is On The Move may not have been the best move at all. After the band's popular debut, Sound of Melodies, the group certainly brought energy to worship music along with big expectations. Expectations that Leeland matched with their refined sophomore album.

But, suddenly almost every single facet of Leeland's unique qualities seems to have been greatly watered down.

To begin with what makes Love Is On The Move uneventful, is that there are no songs which resemble the rising worship song “Sound of Melodies.” There are no tracks which quite capture the ar tistry of “Opposite Way.” Or “Tears Of The Saint.” Or “Brighter Days.” Or “Count Me In.” Or even “Yes You Have.” It's not to say that Leeland doesn't try similar formulas. In fact, the title track attempts a hybrid of rising worship music with a light

ar tistic touch to form a solid track. But the single “Follow You” sounds like a less passionate version of “Yes You Have,” and guest vocalist Brandon Heath fails to impact the song in a significant way.

While Love Is On the Move does features a handful of good tracks, it feels more like several run-of-the-mill worship tracks strung together by Leeland Mooring's voice. Probably the most memorable track is “Pure Bride” which begins with a great alternative/worship sound which then shifts to an upbeat stanza which

Love is on the MoveAlbum Review

15captures Morning's anticipation for the Second Coming… Unfortunately the song doesn't end there. Leeland interjects a brief, but prominent warning, "What are you doing when no one is watching/what are you doing/children get your hearts right/God's coming for a pure bride," which fits into the context of the song but tips the musical equilibrium in the wrong direction. Other mishaps include the gradual upbeat tone of the piano driven “Via Delarosa” (AKA Road of Suffering and not a Sandi Patty cover) which should have remained light and melancholy considering the events leading up to the death of our Lord, and “Lift Your Eyes Up” where Morning's driving voice has the music playing catch-up for the entire song. The guitar fueled “New Creation” borders on unbearable due to Mooring's attempts to stretch his vocals to Phil Keaggy territory.

Part of the attraction of previous efforts was the inspiring love songs to our Creator, but this time around they seem scarcer or, at least, less distinctive. “The Door” showcases some surprisingly shallow and cliché lyrics ("and we're walking together/Holding hands/Oh I wish it's just

you and me Jesus") on an album which just isn't as impacting or original than the band's former releases. But the underlining theme, caring for the poor and needy, is vented well through the examples in the title track and on “Follow You” ("And I´ll... /Follow You into the homes of the broken /Follow You into the world /Meet the needs for the poor and the needy, God").

One could point to Leeland's new producer Ed Cash (producer of the not-always-original Chris Tomlin) as the source for Leeland's slide into the mediocrity. But despite all of Love Is On The Move's flaws, it's still better than your average praise and worship recording, as it offers mostly biblically based lyrics on top of a fairly complex, alternative influenced, music platform. But considering Leeland's prior stellar performances, the band's third album falls short of their potential.

Recommended If You Like:Swithcfoot, United, PlanetShakers, Starfield

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A Day toRemember

The ability to evolve and push boundaries has never been more important than it is now. While the mainstream becomes safer, the dynamic, genre-bending acts are driven underground, to be discovered by a whole new generation of music fans not content with the identikit bands pushed at them through the major media. It is this hallowed place that A DAY TO REMEMBER

has not-so-subtly been taking over, from stereos to mosh pits across the world. While the music industry scrambles to discover the next big thing, A DAY TO REMEMBER has been becoming it, showing that with the right amount of hard work, strong songs, an unfaltering self-belief, and that indefinable spark of something really special, anything is possible.

Everything about the band

17Rising from the punk rock hotbed of Florida in 2003, Josh Woodard (bass), Alex Shellnutt (drums), Neil Westfall (guitar), Jeremy McKinnon(vocals) and Tom Denney (guitar) formed A DAY TO REMEMBER, crafting a blend of the music they loved into a niche of their own. Their sound combined the punk-pop of BLINK-182 and NEW FOUND GLORY with brutal hardcore beatdowns, sending shudders through the underground. Their debut on Indianola records sold 8,000 copies with little promotion, and attracted the attention of Victory Records, who signed them in 2006. “When we first got signed, our goal wasn’t to blow up or even sell a ton of records,” recalls bassist Josh Woodward. “All we wanted to do was stay on tour, and play to as many kids as possible.” The result exceeded even their expectations, as the infectious, explosive energy of their live shows helped them organically grow a fanbase that multiplied each time they played.

With the release of their breakthrough album For Those Who Have Hear t, A DAY TO REMEMBER went global. In the two shor t years after its release in early 2007, the band grew from a small band with a dedicated local fan-base into a worldwide phenomenon, gaining the respect and adoration from their peers as much as their fans. This is no overnight success – the band has worked hard to win over every fan they make. But the ‘perfect storm’ of their dedication, rapidly-spreading buzz and undeniable musical abilities have made this young band one of the most talked about bands in rock, gaining themselves a coveted slot in Alternative Press’ Most Anticipated Albums 2009 issue.

Selling out tours worldwide, their lyrics “Mark my words: we’re taking over the world” became a self-fulfilling prophecy, as the band hit theroad with bands they grew up listening to like New Found Glory and Silverstein, and had a full summer on the Vans Warped Tour. Embraced by the media, A DAY TO REMEMBER made it on to “Ones To Watch” lists internationally, picking up a Kerrang! Award nomination for Best International Newcomer ; the video for their rocked-up cover of Kelly Clarkson’s “Since

U Been Gone” unshakable from music television over summer 2008.

Their new album Homesick sees them using their ascension as a springboard, ready to launch them into the big time. “Homesick is a culmination of 2 1/2 years of being gone on the road,” Woodard notes. “It represents what we’ve been through, what’s ahead of us, and the lessons we’ve learnedin between. It’s the heaviest and catchiest record we’ve ever written, and we couldn’t be more excited for people to hear it. We’re all so proud of what we just made, and think it really sets us up to jump to that next level.”

In an industry where you have to evolve to stay ahead, A DAY TO REMEMBER is standing defiant, leading the genre-straddling pack in a battle cry, ready for the fight of their lives. Grab your friends, “disrespect your surroundings”, and watch A DAY TO REMEMBER set the world alight. The mainstream won’t know what hit it.

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MuteMathGet ready to meet a band whose understated elegance runs against convention in its challenge to make rock music new again. Mute Math featuring Paul Meany (vocals, bass, Rhodes), Darren King (drums, samples, programming), and Greg Hill (guitars)—embraces a songwriting style that combines with familiar innovation to provide a new take on a classic sound. Few artists could venture so deep into electronic influences and yet retain the organic rock feel that makes their music unique. Mute Math makes its commercial debut with Reset, a 7-track EP that sets the tone for a fresh look at rock music.

The keyboard and guitar-driven “Control” leads Reset with a mix of emotions that peak in its explosive double-chorus. Hauntingly addictive, “Control” utilizes various dynamics that interchange between delicate melodies and raw execution. The song, which is essentially a cry for freedom from control issues and over-thinking, delivers diversity without losing focus.

“This is my 4 minute sprint to get as far away as I can from everything that compels me to maintain control,” says Meany. “My very nature wants me to play life as though it’s a chess match against circumstances. Always thinking 20

moves ahead can be exhausting. This song was written nothing short of an urgent prayer to find rest.”

Equally urgent and even more so unpredictable, “Plan B” rocks over a drum track that sounds like the foundation of a techno song. Interestingly, the band lets the rhythm stand apart from the keys, and with the addition of lo-fi guitar samples, the song creates the feel of an authentic dance-rock hybrid. “Peculiar People” offers yet another twist with a catchy chorus, a driving drum-and-keyboard loop, and a reggae vibe reminiscent of Reggatta de Blanc-era The Police. The

Everything about the band

19song, which also features a hip-hop element, lyrically emulates its sound with a message about standing out.

Overall, the album embraces the art of sampling, but since most of the source material comes from their own organic performances, the songs emit the warmth that’s lacking in most electronic-influenced music. Spotlighting intermittently manipulated drum takes, the title track “Reset” has an amped-up finale that delivers a refreshingly tangible feel. In a similar way, songs like “OK” and “Progress” emphasize atmosphere and ambience, yet the flavored moods complement the earthy songwriting without overpowering it.

Besides their execution of the songs, Mute Math finds personality by using vintage instruments and amps from the 60’s & 70’s complimented by early 80’s analog

synthesizers. The more seasoned the instrument, the better. They also like the idea of an instrument having a history. In their quest for uniqueness, the trio even tapped into the underground trend of “circuit bending.”

“If you take apart little electronic toys like children’s keyboards, you can rewire the circuitry in them to make unique sounds,” explains King.

“I’ve been building these tiny little gizmos that make great theremin-like sounds,” he continues, referencing an electronic instrument that’s played by moving one’s hands near its two antennas.

Turning back the calendars, Meany first took center stage as a vocalist and founding member of Earthsuit. The band, which King would later join, earned considerable acclaim, though it wasn’t enough to keep the group together past their first release. Disappointed, Meany

took a break from the music business.

“One of the traps I was falling into when Earthsuit was breaking up was that I felt I had to figure everything out,” explained Meany, “initially, for the people who looked up to me, but eventually more so for myself. It was my first confrontation with my mortality. I was finding it hard to enjoy anything about being in a band or making music at that point.”

Meany headed home to New Orleans and started writing songs purely for the creative release, a move that eventually turned everything around. Recapturing the joy of music’s true freedom, Meany experienced a “reset” of his perspective that led him to test. out the new ideas with King and Hill.

20“As I was writing songs for Mute Math, I was beginning to change perspectives. I began to write these songs not out of trying to figure out more but trusting more and letting go. I was allowing myself to finally realize that everything in life doesn’t have to have a finite formula or explanation,” he says, “What

we experience in life and how it affects us goes beyond mathematical boundaries. . . the sooner we can accept our uncertainties, the more certain and hopeful our future seems to become.”

Recalls King, “We wanted our style and sound to have signature

elements, but we weren’t afraid to set aside any boundaries that we’d previously set for ourselves. We wanted songs that intrigued and connected with people from the first listen while making them think about things differently.”

Mute Math’s first demo found its way into the hands of established producer Tedd T. (dc talk, Delirious?, Stacie Orrico), who was launching his new record label, Teleprompt. In little time, Mute Math became Teleprompt’s flagship band. Says Meany, “I’m highly optimistic about teaming up with Tedd and his label. For us, the key was finding someone who really got the music and would help us make the record that we were hearing in our heads. We’ll see where things go, but no matter what I’m just happy that upfront we got the music done right.”

Produced by Mute Math and Tedd T., Reset reveals rock music that’s ahead of the curve yet difficult to resist. With plans for a full-length album next spring, Mute Math has only begun to show what rock music can fully become.

Meany concludes, “I’ve realized there truly is a spiritual realm that’s paralleling all that stuff we go through, and there’s something great that can come even from our mistakes and failures. If you look at it that way, it’s hard to be cynical.”

Recommended If You Like:ALTERNATIVE MUSIC

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P.O.D. When Serpents and Angles DanceAlbum Review

With the remnants of “nu-metal” scattered among the musical landscape, it would be hard for any band mixing hip-hop and rock to create something relevant. Many have tried and only a few have succeeded to moving on from this style. To come back this late in the decade means you better have a few aces up your sleeve. San Diego’s native sons P.O.D. (also known as Payable On Death) have taken up the task with their latest release due April 8, When Angels and Serpents Dance (INO/Columbia)

Having been a fan since the independent days of Brown and Snuff The Punk (both released on Rescue Records), I have seen the progression from relative unknowns to MTV favorites. Releasing great albums such The Fundamental Elements of Southtown in 1999(Atlantic) and Satellite (Atlantic) in 2001, it seemed that they were destined to stay in green pastures for a long time.

Then the walls came crashing down. With the departure of a founding member (Marcos Curiel),

no support from their label and mediocre sales, it would have broken up a ton of other bands. But having been together since 1992, the foundation was strong enough to stop and reevaluate their objectives. After two more releases, they fulfilled their contract with Atlantic Records and were set to go back to independent waters.

What else could happen after all that? Member Jason Truby (who had replaced Curiel in 2003) decided to bow out, leaving a vacancy for a guitar player. It was at this time drummer Noah Bernardo (aka Wuv) began to reach out to Curiel. Could the bridges be repaired ? Apparently, they could. New material was written and then Columbia imprint INO Records came calling.

How do you make a splash back into the music world? Bring in respected artists such as Mike Muir of Suicidal Tendencies, Page Hamilton of Helmet and the Marley Sisters (daughters of famed reggae legend Bob Marley). With notable names like that, I was excited to see the result.

27Immediately opening with what will be their first single, “Addicted,” is a breath of fresh air to any P.O.D. fan. Listening to Curiel’s arsenal of riffs come out with new found vigor is exactly what I wanted to hear. With no disrespect to Jason Truby, Curiel brings back that dynamic on guitars that I didn’t hear on their last 2 releases.

What I didn’t expect is the following track “Shine With Me” to come out with such a poppy vibe. I mean, they’ve done their part with catchy hooks but this leans more into the pop vein more than any song in their catalog. “It Can’t Rain Everyday” sounds like they are trying to recapture the success of their hit single “Youth of the Nation” Vocalist Sonny Sandoval tells the tale of daily struggles of everyday people. This song brings to mind System of A Down’s “Lonely Day” with more spiritual uplift. Too bad it falls a bit short. At times, the song seems a bit generic and bland. A noteworthy try for sure but nothing memorable.

How do you recover from all that? Bring in Cyco Myko from Suicidal Tendencies to up the ante on the track “Kaliforn-Eye-A.” While I wasn’t too excited about the lyrics as they sounded a bit

juvenile at times, it was hearing Mike Muir on vocals that kept my attention. The song itself is simple and it works. The little gem they throw in is going back to the some thrash/hardcore punk with Muir going into a spasm that sounded so good on my stereo.

Always bringing a reggae vibe to each record, “I’ll Be Ready” is a great track that features The Marley Sisters with their angelic background vocals. The best reggae song P.O.D. has done since “Set Your Eyes to Zion” on FEOS and “Ridiculous” on Satellite. It’s great to hear P.O.D. head back into harder waters and what better way than bring in Helmet’s very own Page Hamilton. Sharing vocals with Sandoval, Hamilton adds some needed grit to what is probably the heaviest song on this record.

I will say that P.O.D. has ventured into new terrain as they include the ballad “Tell Me Why.” With its anti-war message, it may turn off some fans with its somewhat preachy message but it’s delivered with such sincerity, it works. The record ends with the very anti-climatic “Rise Against.” Very somber sounding, you can hear the maturity in the music. Lyrically, its sounds a bit too simple. Perhaps I was looking for something vaguer that would make you ponder life a bit deeper.

Overall: When Angels and Serpents Dance is a solid rock record. While it does have its filler songs here and there, it’s still good enough to keep the fans happy and make new ones in the process. It’s hard for any band to recapture their glory days on disc but you definitely can say that P.O.D is trying. The only question that remains is whether they can brings these songs to life in concert. When they come back to Dallas, we will certainly find out.

Recommended If You Like:Pillar, Rodox, Red, Linkin Park

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AnberlinDark Is The Way, Light Is A Place is more than a title. It’s more than a reference to the Dylan Thomas work Poem On His Birthday. It’s more than a statement or theme. Rather, Anberlin’s fifth studio album (and second for Universal Republic) is a journey through your psyche, your deepest and darkest thoughts. It’s a place where the themes of life, love, pain, and disappointment duke it out, as lead man Stephen Christian explains that, ““Love is a friction, a chemistry. We need to fight it out in a good way, not with threats of leaving, but to, in love, find an understanding.” On Dark Is The Way, Light Is A Place, Christian and company try to find that understanding.

Dark Is The Way, Light Is A Place is an emotionally gripping album that will channel your innermost feelings. It’s dark, aggressive, and heavy, but not in the “blazing guitar riffs/power chords/huge crashing cymbals” kind you’re imagining in your head. Sure, opener “We Owe This To Ourselves” falls in that category, but the album is much more than that sound. The Florida quintet exclaimed that this was

“the best record that we can ever accomplish,” and that the band was basically in the zone. And you hear that on songs like first single “Impossible.” The laid-back rhythm really brings out Christian’s stunning vocals, while the nicely-executed guitar riff that appears on the bridge will draw comparisons to Jimmy Eat World. Eventually the chorus buys up some property in your head, and that is when you realize how massive the song is. Two songs in and we need to catch our breath already.

Right on cue, “Take Me (As You Found Me)” shows up as a throwback to the mid 90’s pop ballad. You know the one that you secretly loved in grade school and wouldn’t change the dial when it popped up on that one morning radio show. The haunting “Closer” flexes the guitar chords over one of the heavier choruses, while Christian’s vocals soar over a beautiful melodic breakdown during the bridge. That song begins the very strong middle portion of Dark Is The Way, Light Is A Place, as the band expands their musical boundaries with the rhythmic clap/stomping of “Pray Tell.” The thick, harsh guitar

Dark is the Way, Light is a Place Album Review

29chords are paced by the syncopated beat produced by drummer Nathan Young and bassit Deon Rexroat. “Pray Tell” is just one of many musical achievements on this record.

Anberlin picks up the pace with the eerie “Art of War.” The cold, industrial sound clashes with the warm, gentle nature of Christian’s voice, thus creating a beautiful contrast. Lyrically, Christian exposes a lot here, declaring that, “there are songs I’ll never write/because of you walking out of my life/there are words that don’t belong/because of you I’ll never write another love song.” You can hear the pain over the delicate melody of the song, but quickly that pain turns into aggression on “To The Wolves.” Angry guitar riffs and chords flash throughout the song, while Christian’s voice has some bite to it as he exclaims, “who needs enemies/when we got friends like you.” Older fans of Anberlin will eat this song up, as it is a definite album highlight.

As I mentioned earlier, Dark Is The Way, Light Is A Place is a journey. And closer “Depraved” is the culmination. The slow build-up is a trait we’ve come

to expect with recent Anberlin album closers, and this is no different. It rises and falls between calm and chaos, as Christian’s voice toys with our ears. Finally, the perfect storm arrives, as a flurry of sound crashes into your ear canal. The track brings the journey full circle. The album features some of Christian’s bleakest lyrics yet, but also some of his most encouraging: it’s a walk through the good and the bad. “Depraved” sends the message of picking yourself up and rising to the challenges one faces in life.

It’s fairly apparent throughout the album that Anberlin was definitely in their element, as Dark Is The Way, Light Is A Place is exactly what mainstream music needed: a challenging and engaging rock and roll album anyone can relate to. Their songwriting and musicianship have never been better. This is a record meant to soar in arenas, but not in a way that will alienate loyal fans. No matter where you’ve been in life or where you are heading, Dark Is The Way, Light Is A Place will serve as the perfect companion.

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Hillsong UnitedWith an album that recently debuted at No. 1 on the Christian charts and seven albums already under its belt, Hillsong United is making a name for itself. Yet, many CCM readers may not know the unusual story behind this ground-breaking, worshipping bunch of Aussies.

“Hillsong United is the best youth worship band on the planet right now,” Delirious’ Martin Smith tells CCM. “They generate enough energy on stage to power a small city, and their songs give an emerging church around the world the confidence to be a ‘city on a hill.’” Affirms fellow recording artist Michael W. Smith, “What they do is so unique...so fresh. As a worship leader, I’m always looking for great songs. I can’t tell you how many Hillsong United songs we do at New River Fellowship [Church].”

You’d think a band this influential would be a household name among modern worship fans here in America. So why is there usually just a vague

The Art of Revolutionfamiliarity with Hillsong United? True, the band has never been about doing things the “traditional” way. For starters, the collective has never focused on being a band. In fact, the group has intentionally rotated members over the years in order to keep things “fresh” and allow more youth from their church to become involved with the music and songwriting. While on the surface, these things set them apart, there’s really much more to the heart and soul of this band.

Hillsong United was birthed out of the youth ministry at Hillsong Church in Sydney, Australia, which has become one of the largest and most influential churches in the world, with the success of worship leader Darlene Zschech—most famous for her world-wide church anthem, “Shout to the Lord.” The group, then named United Live and led by Reuben Morgan and Marty Sampson, recorded its first album in 1999 and went on to record six other live albums, each one packed with raw energy and solid songs geared toward corporate worship.

33For United, the music is only part of the vision. “The way we see it is the songs and the music are an overflow of the heart of what’s going on in our church and our ministry,” United front man Joel Houston tells CCM. “Really our greatest desire is to see young people really take their gifts and use them for God. If it’s through music, that’s great. If it’s business, that’s great. Whatever they love and are passionate about, we want to see them use that to love God and to serve and love others.”

United’s new album, All of the Above (Hillsong/ Integrity), is the band’s first studio record, and simultaneously, its first No. 1 on SoundScan’s Christian Album sales chart—both clearly a different dynamic for this known-for-their-live-sound band. Recounting the recording process, Joel says, “It was a whole new experience for sure. We just thought that we would get in the studio and basically do what we always do. We just grabbed a song and played it front to back, back to front and just worshipped.”

In recent years Christians—and modern worship fans in particular—have heard countless artists and pastors remark that “worship is a lifestyle.” And the members of United? They believe a life of worship means action.

“We can sing the songs and have a lot of great corporate times of worship, but it’s really worship when it’s at work in our lives and when we put action to our songs,” explains Joel. “When we worship God it’s about loving God and loving people. We have to be about reaching our community and serving others and helping those in our world who need help.”

The youth at Hillsong Church have begun to live out their worship in the form of social justice projects and community outreaches. They have annual conferences with themes of worship and social justice going hand-in-hand, as the kids participate in hands-on projects together and end the time with a worship service. “It’s amazing what happens when you put those two things at work together. That’s worship in spirit and in truth. It’s being the hands and feet,” Joel says.

So a life of worship should emphasize social justice and community outreach? Granted such concepts may seem obvious given Jesus’ two greatest commandments: “ ‘Love the Lord your God with all your heart and with all your soul and with all your mind.’ This is the first and greatest commandment. And the second is like it: ‘Love your neighbor as yourself.’ All the Law and the Prophets hang on these two commandments.” (Matthew 22:37-40, NIV). Why, then, is the correlation foreign in so many churches, especially in the United States?

“I think that the potential of the church here in America is unfathomable,” Joel responds. “It’s a sleeping giant, you know?” After a recent trip to Europe, he recounted all of the magnificent churches there—that at one time were thriving—and now sit empty. “We can’t afford for that to happen in the States,” he says. “People live a self-centered life, and when our faith becomes about ourselves, then the church isn’t going to thrive. It doesn’t matter how disillusioned you are by the church—the fact is that the church is the bride of Christ, and it’s God’s plan for the salvation of the earth.”

Joel and his bandmates are encouraged that worldwide there seems to be a “revolution” of sorts, as young people are taking their faith seriously and beginning to step up and use their gifts for God’s kingdom.

Recommended If You Like:Starfield, PlanetShakers, U2, Leeland

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Sent byRavens

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Sent byRavens

Our Graceful WordsAlbum Review

Debut albums can be a tricky thing to anticipate. For the most part, they are like a greatest hits album of sorts for bands that have been around for a little while. Some bands never release an album as strong as their debut, especially if they have huge commercial success with it, and struggle to live in its shadow. Other debut albums show a band trying to discover who they are and what sound they want

to pursue as they show off their potential for the future. If I were to try and peg Sent by Ravens’ debut album, Our Graceful Words, I’d say they’ll likely fall into the latter category. Of course, I don’t have a crystal ball to see the future, but this album is a collection of past songs from a previous EP, addictive tunes that could be hit singles, and some tracks that don’t hold up as well

and end up as filler. The bottom line is Sent by Ravens is a band oozing with potential and their deft talent at their respective instruments propel this album to be one worth owning for any fan of hard rock.

Having the first single start off the album was a very wise decision. ‘New Fire’ is one of the best tracks and it features many

36 of the components you’ll hear throughout Our Graceful Words. The dual guitars are heavy and direct the song, often coming to the forefront in the chorus, and the vocal hooks immediately stick in your head. There is even a dose of solid screaming during the bridge that fits surprisingly well and shows the variety of sounds the band can cover. Zach’s voice has a strong range reminiscent of vocalists like Jon Sumrall (Kutless) and, to a lesser extent, TJ Harris of Fighting Instinct/Decyfer Down. In the closing track, ‘True Bride’, the vocal hook in the chorus is so insanely catchy due to his range that it stays in my head for hours after hearing it. He also does a good job of changing his vocal delivery often and that’s most evident on ‘This Awakening’ where you get a kaleidoscope of different vocal styles.

Sometimes as you listen to this album you won’t know what to make of Sent by Ravens. The lyrics are very spiritually focused and uplifting with some songs that could even be considered heavy worship, like ‘An Honest Heart’. Then it’ll have a section in it where you may think another song came on as it transitions briefly with a metalcore vibe before going back to the worship sound. Honestly, I enjoyed the heavier parts thrown into a lot of these tracks since they blend the sound seamlessly and keep the listener attentive. It’s when they went with straight up rock tunes that they lost me. If anything, that might be due to the fact the heavier tracks stand out so well

and the typical rock ones pale in comparison. Luckily, those are few and far between.

OVERALL:Sent by Ravens have created a truly catchy debut album while showing potential for the future. Need lyrical depth? They got it. Want infectious vocal hooks and explosive guitars? No problem. Could you use some heavier worship tunes that stray far from generic contemporary music? You’re in luck. Looking for something completely original and off-the-wall? Look elsewhere. Our Graceful Words will fit right in with any hard rock fan’s collection and steal away a few spins from their latest favorites in the process. What this debut may lack in total originality, it more than makes up for in sheer entertainment as you headbang along with the riffs or attempt

to belt out the chorus along with Zach. Some albums are just meant to be enjoyed rather than analyzed through a microscope.

Gems of this album are: ‘New Fire’, ‘I Hear Her Breathe’, ‘This Awakening’, ‘True Bride’

TRACKLISTING:New FireAn Honest HeartI Hear Her BreatheBeautiful ListTrailer vs. TornadoJack and JillPhiladelphiaSalt and the LightThis AwakeningStone SoupTrue Bride

Recommended If You Like:P.O.D, A Day to Remember

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StarFieldTwo years after releasing their last studio album, Beauty In The Broken, the Winnipeg, Manitoba, Canada-based rock group Starfield return with their latest offering in I Will Go. After undergoing a few changes in the group, the Neufeld-brothers led quartet come forth with a brash new selection of new hits as well as some great songs of the past.

Since this is Christian Music Review’s first Starfield review, I want to take a moment and introduce you to the group. As mentioned before, Starfield is led by Tim Neufeld on lead vocals and guitar, his brother Jon Neufeld on guitar and vocals, Gordie Cochran on drums and David Crisp on the bass guitar. The group currently resides in Vancouver, British Columbia, Canada when they are not out on tour. While Starfield had garnered their most successful radio run with Beauty in the Broken, I ashamedly admit that prior to now I wasn’t too familiar with

their music ministry. I was however quite impressed with I Will Go and the impression it left on me with its straight forward lyrics and worship-style musical numbers. I am now starting to notice that there is more and more praise and worship style music being brought to radio then in the early part of the 2000 era.

The record starts out with the driving song, “From the Corners of the Earth”. The song reminds us that we may be many believers, from different countries, different cultures, but in essence we are all of one God. One Savior. One church. I immediately thought of 1 Corinthians 8:6 when I first heard this song. Its funny how at times that our different denominations can make us feel as though we’re worlds apart, even though we may co-exist only across the street or down the road. We need to come together for the sake of the call.

I Will Go Album Review

38 Speaking of praise and worship, Starfield does a cover of Hillsong’s “Hosanna”, which in my opinion is one of the greatest worship songs in the last decade. The word Hosanna, for those of you who are not familiar means ‘a shout of praise or adoration; an acclamation’. The song reminds us of the second coming of Christ and that we are a generation in need of revival. Until that day comes we are still to praise God with hosanna worship. I think Starfield takes this song and makes it their own, with another entertaining ‘raise-your-hands’ rendition of a great song.

I think I would have to say “Reign in Us” is probably my favorite song on the album both for its awesome message and for its music. I often go straight through a record when writing a review, but this song really caught my attention. I probably listened through to this one 3-4 times before moving onto the next track. I think it should be the goal of Christians everywhere to allow Christ to have complete control of our live. Our actions, our words, our deeds and everything else we do should reflect our Savior. I think the first verse speaks volumes, saying “You thought of us before the world began to breathe / You knew our names before we came to be / You saw the very day we’d fall away from You / How desperately we need to be redeemed // Lord Jesus, come meet us / We’re desperate for Your touch.” Great message, I was lost in it …

The album’s title track, “I Will Go” to me seemed like the perfect candidate to be our generation’s theme song to God. What do I mean? The Great Commission. Go into the world and preach the Gospel to every living creature. While Matthew 28:19-20 popped in my head when I heard the first chorus, I also thought back to the Old Testament in Isaiah, where in 6:8 Isaiah tells the Lord, “Here am I; send me”. We should all approach ministry this way. Fully trusting that God has plans for our lives, to do His work and to be about His business. I think the music to the song fit the message perfectly in what the group is trying to say here. ‘I Will Go’ seems to fit the direction where this headed.

Ben Cantelon. A name that most may not be familiar with. But check out the Cantelon penned song, “Remain”. Great message, another song that would fit snug into the praise and worship category. Ben Cantelon is head music pastor at Soul Survivor Church in Watford, England. Cantelon once worked alongside worship musician and songwriter Tim Hughes (recognize that name? Lol) at Soul Survivor. Although I have never heard Cantelon’s version

of this song, I think with what I have heard from Starfield’s rendition, it’s a great song both musically and for its bold message. God never changes, even though we do. We must remember that. Through all of our struggles and shortcomings, it’s nice to know that the Lord remains the same no matter what. He loves us the same, His mercy for us is the same… it remains with us. I love the chorus, “You are God with us / You’re victorious / You are strong and mighty to save / For Your word stands true / There is none like You / And when all else fades, You remain //.Slow it down just a bit for the last track, “Hiding Place”. The song talks of the Lord being both our shield and ‘hiding place’. Although simple in its message, I think the song is a great reminder that no matter what we may be going through in our lives and our individual walks, it’s a good to know that no matter what, the Lord is our shield, our protector, our hiding place. The song reminds me in lyrical essence to Kutless’ hit worship song, “Strong Tower”. It’s a good reminder, especially in a world that is seemingly falling apart more and more with every passing day. We all need that hiding place, a piece of mind that makes us feel safe.

Recommended If You Like:Leeland, United, Stellar Kart, Jeremy Camp

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