For his fourth studio effort, Phil Wickham channels the psalmists of old, voicing appreciation and adoration for the different aspects of God that are seen throughout our lives and circumstances. Partnering again with Pete Kipley (MercyMe, Matthew West), Wickham also brought in Brown Bannister (Steven Curtis Chapman, Amy Grant) to co-produce. This collective approach carried over to the songwriting, too, with multiple collaborations representing more than just Wickham's heart. Don't miss "At Your Name (Yahweh, Yahweh)," a worshipful celebration of the power of God's name.
Brandon Heath may ooze talent from every pore, but that doesn't mean artistry always comes easy to the man named Male Vocalist of the Year at 2009's GMA Dove Awards. Heath admits he struggled to find what he felt God wanted him to say on this, his third album, but returning producer Dan Muckala and songwriters like Jason Ingram and Lee Thomas Miller helped him create a catchy 11-song collection. Tracks like "Your Love" are pure radio gold, while grittier fare such as "Stolen" provides a nice balance to this more pop-sounding release.
After a 10-year hiatus, Burlap to Cashmere is back. This disc skillfully melds Mediterranean rhythms with classic American folk and rock for a more stripped-down, focused sound. Producer Mitchell Froom (Elvis Costello, Paul McCartney) captures an organic, live feel on tracks like "The Other Country," a modern gospel tune that borrows from Van Morrison, while songs like "Don't Forget to Write" owe a debt to '70s singer-songwriters like Cat Stevens and Simon & Garfunkel. But Delopoulos is no mimic: Burlap's sound is a truly unique amalgamation.
Less of an album and more of a musical experience, Ghosts Upon the Earth draws on metaphor and allegory, pairing those literary devices with some unexpected instrumentation. A string ensemble and a boys' choir help flesh out this sonic journey that takes listeners from creation to modern day. The album started with Michael Gungor's weeklong meditation in Assisi, where he was inspired by the saints' view of the world. Michael also produced and did the bulk of the writing, along with his wife Lisa. Bonus points if you connected the album title to C.S. Lewis' The Great Divorce.
Nearly 25 years into his career, SCC is finding that the ups and downs of life have given new meaning to old lyrics, so 2011's re:creation features remakes of nine old favorites, each given a more stripped-down acoustic treatment. Hits like "For the Sake of the Call," "Dive," "Speechless" and "Heaven in the Real World" sound different when sung by a man who has come out the other side of such great success, love, heartbreak and loss. The songs (and the singer) seem more fragile but the message is just as sure. Also check out the five new tracks, including "Do Everything."
After a six-year hiatus (longer since they released a studio project), this brother-and-sisters act is picking up right where it left off with New Day. Joyce, Jonathan and Judy are the first to admit they've never fit neatly into the Southern gospel mold, so maybe it's no big surprise that this project has a decidedly country twang, due in part to production from Rascal Flatts member Jay DeMarcus. Still, they do a talented balancing act, walking a fine line between Southern gospel, country, CCM and pop.
The Christian faith is full of references to water, so it's only natural Casting Crowns would borrow that theme for their fifth studio album, encouraging us to let the living water of Christ well up until it spills over onto everyone around us. That's a lot to tackle on one disc, but they've always been ambitious when it comes to message, and they're only getting bolder. Their passion is front-and-center on tracks like "Jesus, Friend of Sinners" and "Already There," while "My Own Worst Enemy" finds them rocking out. Don't miss "So Far to Find You," co-written with Steven Curtis Chapman.
You know how it is when a good friend falls in love and suddenly it's all they can talk about, obsessing about the new relationship in a gooey way that makes you want to hurl? This isn't like that. It's true that since the release of 2009's City of Black & White, Mat Kearney fell in love and got married, but this album manages to be hopeful, upbeat and fun without the cavity-inducing sweetness. Lead single "Hey Mama," written about the day he met his future wife, captures the butterflies without the schmaltz. The album is heavy on handclaps and lo-fi touches that lend a charming quality.
They may seem like many other hard-rocking groups raging against the machine. Listen closer, though, and you'll find RJA's hardcore-screamo-punk amalgamation is backed by lyrics that could be at home in a Sunday sermon. While not technically a Christian band (a label distinction), these Florida boys are well-versed in the Bible, as proven on songs like "Fall From Grace," "Salvation" and "Reap." The latter references Galatians 6 and is full of fire and brimstone. The title track and "Where Are the Heroes" are pulsing, screeching anthems, while "Dive Too Deep" showcases the band's softer side.
This release by Aaron Shust was deeply colored by his two-year-old son Nicky's illness and surprise healing -- something that impacted his faith and songwriting. Helmed by Ed Cash, whose production credits include Chris Tomlin, Leeland and Chris August, This Is What We Believe is deceptively simple. Listen again and you'll find a poetic, multi-textured project that only seems effortless. The songs are permeated not just by what Shust believes, but by who he is. It's thoughtful music for anyone who realizes that living itself is an act of faith. Don't miss "My Hope Is In You."
The album opens with the jangly "This Is the Stuff," and it never strays far from sing-along pop. But there's definitely a message here, and the woman delivering it has been through some changes since her debut. Battistelli married and gave birth to her first child in addition to being nominated for the Gospel Music Association's Female Vocalist of the Year. So in a way, this album is a continuation of the story started in My Paper Heart. Questions raised in that first album's "Someday Soon" are answered in this disc's title track. Don't miss "Emily (It's Love)," featuring Dave Barnes.
God's Not Dead finds Newsboys challenging Nietzsche's assertion with their rock-driven modern worship take on some of the most popular praise anthems. The band again tapped co-producer Seth Mosley to help them apply their signature sound to favorites like "Forever Reign" and "Revelation Song." Five original tracks -- including standout "The King is Coming" -- round out the project. You won't want to miss the band's cover of "God's Not Dead (Like a Lion)" because it reunites frontman Michael Tait with his former dc Talk bandmate Kevin Max, who also appears on "I Am Second."
For their fourth release, Leeland returns to their roots -- both musically and spiritually. Inspired by theologians such as Salvation Army founder William Booth, The Great Awakening is equal parts old-time revival meeting and modern worship gathering. It also marks the addition of the Mooring brothers' little sis, Shelly, on bass. Produced by Paul Moak, the project features pleasing sibling harmonies as well as a live concert sound, thanks to the fact that all 11 tracks were recorded live-to-tape. Definitely don't miss "I Wonder" and the title track.
This eighth worship disc from well-known songwriter Matt Redman was recorded live in front of thousands of fellow worship leaders at Atlanta's LIFT, a Worship Leader Collective event. Keeping one foot in his hometown of Brighton, England, and another in the American worship scene, Redman provides a unique spiritual perspective that permeates the album. Meanwhile, lyrical collaborations with friends like Jason Ingram, Chris Tomlin and Matt Maher add depth to the project and lend a community feel. Don't miss the anthemic "Never Once," a track celebrating God's faithfulness.
After two years of nonstop touring to promote their breakthrough album, The Outsiders, Needtobreathe finally found time to get back in the studio. The result is The Reckoning, an album that finds its core in the songwriting talents of brothers Bo and Bear Rinehart. The band isn't relying on a formula, though. Instead, they approached this recording wanting to try everything, pressuring themselves to create a career-defining disc. They may not have quite reached that lofty goal, but the album's a solid follow-up filled with moody, earnest pop-rock that has some weight to it.
He's one of the top gospel artists around, so what does Kirk Franklin have to fear? Surely not the response his 12th studio album, Hello Fear, will receive. In fact, this disc should be titled Goodbye Fear, because it finds Franklin favoring grace over fear. Tracks like "Everyone Hurts" acknowledges the pain life can bring, but "I Smile," reminds us that our attitude -- and our willingness to trust God -- also play a part. Throughout, Franklin deftly mixes gospel, soul and a touch of hip-hop. Don't miss "The Altar" with special guests Marvin Sapp and Beverly Crawford.
On her 10th album, Invisible Empires, Sara Groves continues her habit of laying bare her most intimate feelings and fears in hopes that her warts-and-all truth will inspire the rest of us to live more examined, thoughtful lives. Joining forces with producer Steve Hindalong for the first time, this underrated singer-songwriter sifts through the layers of life that pile up on us all to get to what's really important. This 11-track disc includes the gospel-inspired gem "Eyes on the Prize," a Civil Rights-era anthem that reminds us that the fight for social justice continues.
It's true, some bands just get better with age. Switchfoot is proof. From the first note of Vice Verses they make it clear they have something to say and a talent that continues to earn them the right to be heard. The synth sounds of "The War Inside" and the driving beat of "The Original" are a nice contrast to the lo-fi anthem "Restless," which showcase the band's great big heart. "Selling the News" may be a musical experiment gone awry, but it's a rare misstep. Jon Foreman & Co. continue to grow and change in unpredictable ways, making us always eager to see (and hear) what's next.
After four years off to recharge, spend time with family and explore side projects, the hard-rockin' Swedes behind Blindside return with their sixth album. With Shivering Hearts We Wait is a compact, streamlined disc that showcases the powerful vocals of frontman Christian Lindskog. Maybe it was the time off, but the band seems hungrier and more aggressive than ever. Tracks like "Our Love Saves Us" prove that point nicely. Produced by Howard Benson (My Chemical Romance, Flyleaf), this moody, dark release may just be a career-definer.
This down-to-earth band of Canadians seems to be traveling back in time, as evidenced by their "mountain men" look on the album cover and their belief that true progress involves looking back as much as forward. On the Altar of Love is built on a foundation of faith that spans thousands of years. That solid history makes for an album that manages to be pop-friendly and weighty at the same time, with a welcome vulnerability. By not allowing the latest cultural references to creep in, the band has created an album that is truly timeless. Don't miss the anthemic "Let Me Rediscover You."
No release by this talented sister act could be called understated, but Mary Mary's Something Big truly lives up to its name. Erica and Tina are both married now with six kids between them, but the multiple Grammy winners are at the top of their game, seeming ageless on their sixth studio disc. "Walking" features a bit of urban edge and the tight harmonies that can only happen between siblings, while "Homecoming Glory" offers up a gorgeous picture of Heaven. The title track reminds us who God is and offers a perfect example of how these larger-than-life ladies quietly shine wherever they are.
Their fifth album finds these kooky Canucks getting back to their punk-rock roots. The band may be growing up and settling down, but the music remains youthful and fun, with just the right touch of post-adolescent angst. This fast, frenzied disc, produced by Ian Eskelin, may be a return to the band's roots, but it's still accessible to all. The title track was already at No. 1 on Christian music's CHR charts before the album's release, and it's a great introduction to what is undoubtedly the band's most well-rounded release to date.
