Demon Hunter's sixth effort kicks off with a screech and a growl in the form of album opener "Crucifix," a driving track that sets the tone. "God Forsaken" is more melodic but seethes with godly anger, while "Wake" is a dire warning set to song. If you detect a slight difference in the band's sound, chalk that up to an ever-changing line-up (this is Jeremiah Scott's official debut). Thankfully, longtime producer Aaron Sprinkle lends cohesion as well as expertise. True Defiance may not reach the heights of 2005's The Triptych, but it's a bold attempt and well worth a listen.
Moriah Peters admits she's just a work in progress and in desperate need of God's grace. Everything about the college student's pop debut stems from those ideas. The title track is a musical manifesto about making the right choices. While Peters espouses a strong moral code and high standards via tracks like "Haven't Even Kissed," rest assured she's dealing with the same issues as her peers. Insecurity, the embarrassing teen years, dating dilemmas, the importance of friendship -- it's all covered here. In the end, I Choose Jesus is girl power with a godly bent.
Recorded live in front of 42,000 students during the Passion 2012 conference, White Flag reveals no big stylistic changes. Instead, Passion does what it's always done so well: bring together a team of talented worship leaders to create a soundtrack that captures the heart of this annual gathering. The anthemic title track features Chris Tomlin backed by the entire crowd, while Christy Nockels (arguably the most angelic voice around) takes the solo on three glorious tracks. Passion regulars David Crowder Band, Charlie Hall, Matt Redman and Kristian Stanfill round out this stellar musical crew.
The Grammy-winning group’s first live recording in five years, Jesus At the Center is a gospel masterpiece featuring 21 tracks, almost all penned by Israel Houghton, with guest vocals by Jason Nelson, James Fortune, Michael Gungor, T-Bone and many more.
Produced by Ed Cash and taped at Houston’s Lakewood Church in front of a nearly 30,000-strong crowd, this disc marks a return to New Breed’s roots and features a melding of multiple styles from traditional to jazz. Don’t miss “It’s Not Over (When God Is In It)” and “Your Presence Is Heaven.”
For the band's 14th studio effort, The Choir rely on their trademark off-kilter, melodic soundscapes, but lyrically they opt for decidedly more universal themes than on the band's last outing. In other words, The Loudest Sound Ever Heard is an album for everyone (which isn't always the case with a Choir project). The goal this time around is to uplift and encourage -- as well as entertain. Even the album's love song, "Takin' the Universe In," is unapologetically upbeat. Don't miss album closer "After All," a haunting duet between Derri Daugherty and Sixpence None The Richer's Leigh Nash.
Flyleaf's last album with original singer Lacey Sturm, New Horizons hits on all the right spots: It's heavy where it needs to be and mall-bustingly melodic at the chorus. Sturm's pronunciation pushes the whole machine into that rarely achieved balance between unapologetic commercialism and perfectly executed pop music. Opener "Fire Fire" and "Call You Out" cannot be played loud enough.
The risk in doing a concept album is that the actual music can get lost in the hype. And there’s plenty of hype here: a spaceship, an imaginary astronaut and an interplanetary trip, but fortunately the otherworldly adventure doesn’t overtake this project. While the music tells a tale of a spaceman who leaves earth behind after his estranged wife is killed, each song easily stands alone. Leonard is really about love, loneliness and longing -- universal emotions those of us who are earthbound know too well. Osenga is a songwriter first and foremost and that gift shines through each note.
Some bands choose a direction and others have one chosen for them. "I Can Only Imagine" sealed MercyMe's fate as the group to give voice to our hurts and healing. Their seventh studio project pays homage to that role, chronicling fresh losses, recent pains and the true healing that can only come from God. Producers Brown Bannister and Dan Muckala made sure the album wasn't a downer, though, despite the deep topics. Instead, there's a nice rock edge and an overall upbeat feel. The title track is inspired, and don't miss "Take the Time," featuring Needtobreathe's Bear Rinehart.
The band's third studio project is far from business as usual. Instead, The Struggle reflects two years on the road, several lineup changes and a new approach to recording. Produced by Jason Ingram (Chris Tomlin, Sanctus Real), the songs here address life's challenges while giving listeners permission to struggle with a faith and heavenly father that don't always seem to make sense. Freedom, forgiveness and the strength found in letting go are all explored here. This band's been through a lot, but this just may be the album that finally earns them the attention they've always deserved.
For this effort, the Canadian modern rockers get back to basics, pairing the raw energy and emotion of their early years with experience that can only be earned the hard way -- from more than a decade on the road. Prior to release, “Let the Sparks Fly” and “Light Up the Sky” were picked up by ESPN, proving TFK continues to create rock anthems that get fans going. Despite the big sound, this disc is also an ode to the simple possibilities of music. To capture that it all, Thousand Foot Krutch teamed up with producer Aaron Sprinkle again. The result is a militant message with a touch of nostalgia.
On his fourth studio effort, Dave Barnes continues to straddle the line between pop and CCM, appealing to mainstream radio while letting Christian fans feel like he's all theirs. Recorded in Los Angeles with producer John Fields (Switchfoot, Jonas Brothers, Pink), this marks the first time Barnes has ventured outside Nashville to make a record, resulting in a decidedly slicker, synth sound. It's very electronic for a singer-songwriter, but it works for Barnes, who's always been a genre hopper. Don't miss "Mine to Love," an emotional ode to his first child, and the funky, fun "Heaven Help Me."
The album opener says it all: "growing, getting better." Mary Mary certainly is, and Go Get It proves it. Cool gospel grooves and smooth harmonies mark each of these 13 tracks, including a new version of their 2000 hit "Shackles (Praise You)." On their first album since the launch of their reality show, this sister act continues their musical mission of encouragement. "God Bless" and the album's title track are standouts, while the ladies really let loose on "Can't Give Up Now." Then there's the harmony-heavy "Dirt," which reminds us that growth is often found in life's messier moments.
Adam Young branches out from his usual one-man show to enlist the help of co-writers and outside producers for the first time -- and the gamble pays off. For "Shooting Star" he turned to Matt Thiessen (Relient K), Stargate (Rihanna, Wiz Khalifa) and Robopop (Maroon 5), while the rocker "Dementia" features Blink-182's Mark Hoppus and documents the dark side of sudden fame. The kids will go crazy for the peppy, Glee-ready track "Good Time," a duet with Carly Rae Jepsen, but the album overall remains true to the synth-driven, melodic pop sound that won Owl City fans in the first place.
Miracle's 12 tracks are infused with everything good about Third Day. There's a blue-collar, Springsteen-esque quality to the anthem "I Need a Miracle"; there's also romance ("Kicking and Screaming"), worship ("Your Love Is Like a River"), sing-along choruses ("I Want to Believe in You," "Hit Me Like a Bomb") and even frontman Mac Powell playing badass on the gritty Southern rocker "The Victory." When a band's been together this long, they risk sounding like they're covering themselves, but Third Day avoids the temptation, thanks in part to producer Brendan O'Brien (Pearl Jam, The Killers).
Don't look for Blue Mountain on any map. This scenic setting exists only in Brandon Heath’s mind. It’s a place with back porches perfect for picking out tunes about life, love and faith. And part of this album fits perfectly on that porch. The title track and “The Harvester,” with their “y’alls” and fiddles and “hickories,” couldn’t have been born anywhere else. Other tracks – like “Jesus In Disguise” for instance – have a more polished, studio feel, making us wonder if there’s a recording booth on Blue Mountain, too? Fortunately, both are an equally good fit for Heath’s gravelly vocals.
The follow-up to 2009's Stockholm Syndrome finds Derek Webb continuing to innovate, this time with an album based on a story he wrote with Josh Moore (who co-produced) and Allan Heinberg (a former Grey's Anatomy writer/exec. producer). Is it a fruitless search for something real, a cultural observation or a statement about the dangers of technology? Yes. The instrumentation is as much about setting a scene as it is about entertaining, employing nylon-string guitar, drum machines and Sacred Harp recordings. That said, the music easily stands alone, enjoyable regardless of the underlying theme.
The sixth disc from Anberlin finds the band returning to producer and friend Aaron Sprinkle, who helmed their first three projects. In this case, returning to their roots was the right call. The sound on Vital is their most aggressive yet, and singles like “Self-Starter” show the band means business. The album practically snaps, crackles and pops with electricity, showing the band is definitely firing on all cylinders for what is arguably their best effort to date. Don’t miss “Someone Anyone” and the provocatively named album closer “God, Drugs & Sex.”
The self-taught pianist, guitarist and producer continues his winning streak with The Upside of Down, showing off his amazing pop sensibilities. Co-produced by Ian Eskelin (Francesca Battistelli, Sidewalk Prophets), the project's message became even more meaningful after a skateboarding accident landed August in the ICU with a brain hemorrhage and memory loss. Suddenly, the songs of God's faithfulness through life's highs and lows were even more real, instilling in the singer a renewed sense of purpose for his music career. Don't miss "Center of It," a worthy follow up to "Starry Night."
The Woody Allen quote, "If you want to make God laugh, tell him about your plans," has proven true for Matthew West. After 2010's The Story of Your Life released, he quit soliciting stories from fans, something meant to be a one-time event to inspire music for that project. But the stories just kept coming, and 10,000 new letters led to Into the Light. West once again proves his songwriting prowess, tackling everything from addiction to overcoming apathy. In the hands of a less adept wordsmith, this power-pop could become cheesy, but West offers up an honest celebration of humanity here.
A hip-hop album is usually a community affair, and Lecrae's Gravity is no exception, employing the talents of Mali Music, Mathai (The Voice), Big K.R.I.T., labelmates Trip Lee and Tedashii, as well as production from DJ Khalil (Dr. Dre, Eminem, Jay Z), Street Symphony's Heat Academy and The Watchmen. The follow-up to the mixtape Church Clothes, Gravity finds Lecrae expanding on his past work with tracks, like "Tell the World," that move seamlessly between swagger and spirituality. Lecrae doesn't sugarcoat. Life is hard and you will get hurt, but in God he's found a reason to hope.
This time around, pint-sized worship powerhouse Kari Jobe teams with returning producer Ed Cash (Chris Tomlin, Steven Curtis Chapman) then adds Matt Bronleewe Natalie Imbruglia, Josh Wilson) to helm a sophomore release that shows why she’s one of Christian music’s best selling female artists. Jobe continues to blossom, with her popularity taking her away from her “day job” as a worship leader in Southlake, Texas. The message remains the same, though. This Dove Award winner creates music that doubles as ministry, drawing inspiration from the stories of everyday people, focusing on the unchanging nature of God during their good times and bad. Where I Find You finds Jobe delivering more music aimed at spreading peace, hope and healing.
Goodbyes are rarely easy, but David Crowder Band hopes to ease the pain by offering a cinematic farewell disc packed with a whopping 34 songs. The quirky Texas-based band's seventh and final album seamlessly melds worship, pop, rock, bluegrass and electronica as themes of death and rebirth are explored. Their take on the Bill and Gloria Gaither classic "Because He Lives" retains a revival meeting feel, while tracks like "Fall On Your Knees" channel June Carter Cash. The entire project reminds us that there's no one like DCB, and highlights just how much they'll be missed.
Is it horrible to say that Bebo Norman's music is as its best when he's at his worst? A near-decade of personal contentment has dulled his angsty edge. But with Lights of Distant Cities, a few years of spiritual drought have produced a record that will take listeners back to his practically perfect debut. Not that it's a downer, though. The darkness is tempered by some lighter moments, and it helps that Norman is surrounded by old friends in collaborators Gabe Scott and Ben Shive (Andrew Peterson, Sara Groves). Norman's eye for the unusual in the everyday is a one-in-a-million gift.
He's not the most prolific artist, but blame that on the fact that TobyMac wants to cram in a little living between recording sessions. The reward is a rich record that scoots around between hip-hop, reggae and rock. The music is about living passionately, and he does just that on "Me Without You," a hooky, electronic dance track, and the southern funk jam "Thankful for You," a song that is as close to country as TobyMac will get. The album walks the line between swagger and sweetness, from highlight "Forgiveness," featuring Lecrae, to the long-overdue love song "Made for Me."
