The Civil Wars - The Civil Wars

When you release an album that's beloved by just about everybody, that threw you into superstardom, and sent you running at a breakneck pace, the follow-up better be damn good. Throw in tension so thick that it brought a hiatus, and you have The Civil Wars.

Following up Barton Hollow was going to be near impossible without the tension, but throwing in the uncertainty of the band's future and it's a miracle that the band's self-titled sophomore record ever saw the light of day.

The tension between Joy Williams and John Paul White isn't always noticeable on the new record. There are tense, forlorn moments where you can hear the disappointment in how things have gone, but their might be more upbeat moments on the duo's new record, than their debut.

The heartfelt, forlorn, deep longing lyricism will keep fans engaged in the new record. But will added instrumentation and more complex arrangements turn people off.

It was clear from the album's first single, and opening track, that this record was going to be different from Barton Hollow. Maybe that makes it less personal, and that's a good thing for the parties involved. Or maybe it's just a band wanting to and trying something new. The One That Got Away slowly builds over a layer of acoustic and electric guitars as Williams and White's vocals blend a soar. When the album's final chorus hits and the drums kick in as the song finally reaches its climax, you're unguarded for a second as you realize that The Civil Wars have gone to a place you never expected. But whatever unease has set in quickly moves on as you get lost in the vocal combo punch that Williams and White have always had.

If The One That Got Away knocks your guard down, I Had Me A Girl knocks down all your walls and thoughts about the Civil Wars. It's almost a full blown, southern rock song. It's contained enough to ever becoming this exploding rock and roll song but the vibe is there.

Just when your walls have been knocked down, the record settles down. Same Old Same Old is a beautifully simple song. Acoustic guitar, vocals, and some minor strings and slide guitar riffs in the background. Even when the Civil Wars add new twists, nothing after I Had Me A Girl, even fazes you. Dust to Dust has a drum machine playing in the background of the track, but it's so background that it almost gets lost in the melody of the song.  By the time Eavesdrop kicks in with the full band, you don't care because the sheer beauty of the song overtakes you. From This Valley is a straight forward country sound that sounds like it came straight out of the 60's or 70's. The way the strings compliment the arrangement and William's vocals on Tell Mama is perfect. And there's nothing to hate about the band's cover of the Smashing Pumpkin's Disarm. The track is beautiful and haunting. It's not quite Johnny Cash covering Hurt, but it's close.

The melody for Devil's Backbone isn't as inherently catchy or compelling as we've come to expect from The Civil Wars. It's the other "head scratching" moment on the record.

The Civil Wars sophomore outing is in many far superior than Barton Hollow, but in it's own way, is not even close to being as compelling. I appreciate the band doing something new and taking risks. And the moments that work (and all but one or two song don't work) are simply stunning pieces of art. It's hard to think that this is the last time we might ever hear The Civil Wars.

Audrey Assad - Fortunate Fall

Audrey Assad's Heart was a nice surprise last year. Beautifully crafted songs with strong melodies that held more depth and substance than your average run of the mill CCM record. So it wasn't really surprising to me when Assad announced she was without a label and was funding Fortunate Fall with Kickstarter. Whether her choice or Sparrow's, the move away from the label made sense.

Fortunate Fall doesn't have the radio pop singles that Assad's first two records had. The upbeat, catchy tracks that made me take notice on Heart are gone. But Fortunate Fall is a better, more well rounded record. There are still catchy choruses and upbeat songs, but it's not those pop singles.

When Assad announced in her video campaign for the record that she wanted to make an album of church music, she wasn't kidding. Fortunate Fall is a beautiful record, full of deep theology and great worshipful tunes.

Musically, the songs are simpler arrangements and instrumentation. The driving force for each song is Assad's voice and lyrics. Most of the songs consist of only piano and vocals. Occasional string sections, and some minor instrumentation here and there (drums, bass, and a little guitar), but the record is simple. Simple, yet beautiful.

Songs like Help My Unbelief, Humble, and I Shall Not Want welcome in a sense honesty and brokenness through worship. Inviting God to heal and guide in the daily struggles. Fortunate Fall and Oh Happy Fault declare the need to grace and resurrection.

From top to bottom, Fortunate Fall is a beautiful worship record. Audrey has outdone what she's done int he past. She wanted to create an album for churches and she's done that. Fortunate Fall's simplicity is what makes it so beautiful and compelling. This isn't a record to pass on.

Oh Sleeper - The Titan EP

Oh Sleeper has always been in a class all their own. You'd be hard pressed to find a band that conceptualizes their albums more than Oh Sleeper. There's always a theme that's well thought out. Micah Kinard's lyrics always seem to cause a stir and bring controversy to Oh Sleeper, but his words are always well thought out. From the death of God to the evils of the world and the need for God, Oh Sleeper always has something to say.

The band's new ep, Titan, is about  a campaign (The Titan) that has taken over the world offering artificial upgrades to a persons body & mind for a service contract (time-debt). The debts accumulate and are passed to your family upon your death. Pretty crazy. 

While that's the concept, you might not get that concept from the lyrics. The concept seems like the storyline that sets up the ep. The ep seems to be about changing the course of this campaign and fighting against it. 

Naofumi Mitsuhashi kicks off the ep. The song is calling out those who have bought into the lies they've been told. The call is to stop being artificial and to "wear your own name." The cultural parallels are obvious but it's part of what makes the record so compelling. The Pitch is just a nasty heavy song. Lyrically the song is a coming to awareness that the system isn't right. Death From Above is an interesting song that I can see going two ways. It's either the concept of the album in full blown ambition. It's the offering of upgrades, to offering of making you better. On the flip side, it could be the growing of a resistance. The desire to change the world, no matter the cost. 

Heavy Hands starts out sounding like all hope is lost. It's the realization that what was promised is not al that it was made to be. The realization that "we" were made for something more than what we were offered. The Rise closes out the ep. It's the call to arms. It's the forming of the resistance to tear down the system. 

The Titan EP is another wonderfully constructed concept album from Oh Sleeper. Musically pleasing, lyrically thought provoking. Oh Sleeper delivers again. 

The Meltdown 2.4

Last nights episode. New music from Norma Jean, Oh Sleeper, Audrey Assad, Shine Bright Baby, and more. 

Stream it here:

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Norma Jean - Wrongdoers

With each album Norma Jean progresses. I've made it no secret that Norma Jean is my favorite band currently making heavy music. Since Cory Brandan took over as vocalist the band has grown and matured and continued to craft some of the most ridiculously heavy songs you'll hear, while incorporating great melodies and taking creative chances all along the way.

Meridional has a beautifully crafted masterpiece. From some classic Norma Jean metalcore, to some of the best melodies and catchiest choruses the band has ever written. Mixed with what I believe are Brandon's best lyrics to date, Norma Jean delivered an incredible record and following that up was going to be a tall task.

Wrongdoers not only lives up to Meridional, but in many ways surpasses it.

Musically Wrongdoers is a combination of everything that was great about Redeemer, The Antimother, and Meridional all rolled up into one. But there's an added layer of punk rock fury and pure madness in the music.

The epic, nearly seven minute long, opening track, Hive Minds, sets the stage for the greatness that is to come. Guitar fuzz and feedback, solid backbeat on the drums, moving slowly toward a crescendo  before ripping into a killer riff and exploding. The song has a great groove and showcases something new for Norma Jean while maintain the raw edge we've come to expect. If You Got It At Five, You've Got It At Fifty is a fast paced punk rock song. You can hear a little of what Brandan's been doing with his side project, Fear Is the Driving Force. There's this line between these great groove metal tracks and all out punk rock, circle pit songs. It's a balance the Norma Jean strikes nicely and there's space between the songs so there's never an awkward transition or feeling like the band is forcing a certain sound or style.

Sword In Mouth, Fire Eyes continues in the vein of the melodic songs from Meridional. Solid riff with a a great melody. That goes into an interlude, Afterhour Animals, before Norma Jean bursts into the minute long punk infused The Lash Whistled Like A Singing Wind.

It's not just musically that Norma Jean excels. Lyrically, Wrongdoers is strong and full of great metaphors and though provoking lines. The title track is about the unity we all have in the mistakes and repetitive sins we commit. The Potter Has No Hands is about declaring your beliefs so loud that the whole earth has to worship. Funeral Song is a great love song.

Wrongdoers ends with Sun Dies, Blood Moon. It is the most amazing piece of music Norma Jean has released to date. A slow moving song, kind of in the same vein as Falling From the Sky. But that vibe doesn't last long. The bottom drops out and the song sounds like it ends. But a simple piano comes in slowly, followed by strings. One by one the band comes back in, bass, vocals, drums, even an acoustic guitar, as the song builds back up. The lyrically narrative fits the musical build beautifully. Brandan's ability to tell a story shines on Sun Dies, Blood Moon. The track ends and feedback leads to the band playing a lo-fi sludge metal song to end the record.

Norma Jean is always impressive and Wrongdoers doesn't disappoint on any level. I've listened to the record a couple dozen times and it's just as good every time. Easily a record of the year candidate. One of the band's best in an already unbreakable discography.

Thumper Punk Records and Raven Faith Records release “Food For Life Ministry Benefit Compilation."

Thumper Punk Records and Raven Faith Records are pleased to announce the release of the “Food For Life Ministry Benefit Compilation,” an album featuring new and previously unreleased hardcore, punk, acoustic and pop songs donated by 22 bands to raise money to support the efforts of the Food For Life Ministry (www.foodforlifeministry.org).  Based in the Inland Empire (east of Los Angeles, California), Food For Life Ministry is committed to serving those in need with food and encouragement.  Food For Life Ministry desires to care for the whole person, providing food for the body and nourishment for the soul.

All profits from this album go to the Food For Life Ministry.  Available for purchase in CD format from the Thumper Punk Records webstore (http://thumperpunkrecords.storenvy.com/products/2015851-food-for-life-ministry-benefit-compilation), and digital versions are available now at the Thumper Punk bandcamp page (http://thumperpunkrecords.bandcamp.com/album/food-for-life-ministry-benefit-compilation).  Digital versions will also soon be available for purchase through iTunes, AmazonMP3 and the usual suspects.

Tracklisting:

1.   LIV. - Make Moves (On The Attack Records)

2.   Platoon 1107 - J.I.G. (guitar solo by Vulcho Bonev) (Thumper Punk Records)  

3.   Praiser - Remember My Words

4.   Grace and Thieves - You Don’t Know (Veritas Vinyl)

5.   All The Departed - Infected (On The Attack Records)

6.   Hippos of Doom - The WAYne Brady (Thumper Punk Records)

7.   The Old-timers – No Regrets (Thumper Punk Records)

8.   Living Fire - I’m An Old-timer (Thumper Punk Records)

9.   Gary Trimble - Trust

10. He Never Sleeps - Hosanna

11. False Idle - To God Be the Glory (supercharged) (Thumper Punk Records)

12. Christ’s Sake - Sex Trafficking (Thumper Punk Records)

13. Almondo - Give It Up

14. Ambassadors of Shalom - This Ain’t Home (Thumper Punk Records)

15. The Lonely Revolts - The Sojourner (additional guitar by Ron Ruhs) (Thumper Punk Records)

16. Servants N Saints - Let ‘em Go

17. No Lost Cause - Everything’s OK (Thumper Punk Records)

18. The Poor Geezers - Set Out Seeking (Thumper Punk Records and Raven Faith Records)

19. Peter Field - Hebrews/ Perfect King (feat. Sara Pereira)

20. Rob Lanterman  - Everyone Leaves

21. Abby Nicole - On the Inside (MMLJ Records)

22. Lights to Lights - The Book of Obadiah (MMLJ Records)

My Heart To Fear - Algorithm

When I gave My Heart To Fear's debut ep, Lost Between Brilliance and Insanity, I wasn't a fan. So much so that I didn't even write a review because I didn't just want to say negative things and tear the band to shreds. That's how much I didn't like the ep. So there wasn't much anticipation on my part going to Algorithm.

And since I'm reviewing it, you already know it's better. 

Algorithm is a huge step forward for My Heart To Fear. Lost Between Brilliance and Insanity feel into this pattern of modern, tired deathcore/metalcore that seemed extremely uninspired. Algorithm is more intricate and outside of the box. There's more death metal elements and more technical metal thrown into their sound.

The intro on Dust to Dust sounds like you're listening to the score from on of the latest Batman movies before the band kicks in. Instantly, you can hear a difference in My Heart To Fear's sound. Yes, the song still dumps into a breakdown with clean vocals, the complexity in the guitar and bass riffs give the song an extra level. The hook is a little long winded and not the catchiest chorus in metalcore, but there's something charming and slightly interesting about it.

The chorus chant of "We blame God" on 414 Days immediately grabs your attention. A solid song about using God as a way out to explain suffering and pain. Algorithm is a great technical song and I love the bass riff that opens The Witching Hour Pt 2. There's also a fantastic technical "breakdown" section on Wish You Were Here.

My Heart To Fear stepped up their game and delivered a solid record. It's not world changing or even record of the year material, but considering that I didn't want to even review the band's debut... That says a lot about how much they've grown and matured. Algorithm is a solid metal record.