Review: Loud Harp

​Rating: 4 out of 5 stars [iTunes Link]

On the ever-expanding quest to better my palette of worship music, I’ve long been seeking a band that enhances the etherial. I’m not talking about “rah-rah” songs, or powerful ballads, or deep and meaningful hymns. I’m talking about music that thrives during those meditative times of worship, where God is engaged and words seem inadequate. About a month ago, some ministry friends in Oklahoma City introduced me to the band Loud Harp. After giving their self-titled debut a number of listens, I’m pleased to find that this band fills that specific need in my worship arsenal.

Loud Harp is comprised of Asher Seevinck and Dave Wilton. Their goal is to make music that makes known the peace that “echos [in our hearts] louder than our doubts and fears,” the peace found in Christ. They’ve worked together on other projects in the past, but this project happened almost by accident. While setting out to work on another project, Seevinck and Wilton began to write songs that respond “to God’s overwhelming presence in the midst of a season of doubt.” Their hearts are certainly in the right place, but I believe their musical abilities are what set them apart from other bands.

To be honest, Loud Harp reminds me of another band that is getting some attention from both RELEVANT Magazine and Worship Leader Magazine: Young Oceans. Both seem to be offering a similar style of music, and both are of a similar quality of music. With that said, however, I would place Loud Harp slightly ahead of Young Oceans. Where Loud Harp sounds etherial and meditative, Young Oceans feels drawn out and repetitive. Nothing against Young Oceans, and this may seem like splitting hairs to some, but I believe that the slight distinction is worth making.

In short, Loud Harp is a band that engages the heart of God through earnest lyrics and thick, worshipful sounds. Their songs may not serve all of your needs in your worship service, but I do believe that they bring something distinct, fresh, and needed to the table. They are well-deserving of support, and I pray that they continue to gain traction among worship leaders.

Review: Re-Hymns

Rating: 4.5 out of 5 stars [iTunes link]

Hymns are often the focal point (and thus, a casualty) of the conflict between “traditional” and “contemporary” worship. Too many have, and continue to, throw out the good with the bad, as those in the “contemporary” camp reject hymns altogether. They neglect to consider, however, the importance of the songs themselves, as well as their connection to the history of the church.

Enter, Page CXVI.

The trio of Latifah Phillips, Reid Phillips, and Dann Stockton have come together for one simple reason: to make hymns known and accessible again in today’s church. The group name is a reference to page 116 of C. S. Lewis’ The Magician’s Nephew, where Aslan sings Narnia into existence. The reference is likely designed to emphasize the timelessness of the songs the group presents, the songs that have formed the foundation of the church’s corporate worship for hundreds of years.

I simply love these guys. They have released four hymn collections, and they all follow the same general style: raw, unplugged, and simple. I highly recommend all of the projects the band offers, but I wanted to focus on their Re-Hymns album in this post. The band takes hymns and presents them in a refreshingly new way, which is fantastic on its own. This album, however, takes a fan-selected group of favorites from Page CXVI’s four hymn collections and hands them off to singer/songwriter/producer Derek Webb.

Derek Webb is one of the more talented (and controversial) artists in Christian music, and he gives these hymns just enough of his signature remix treatment. The result is a re-imagining of the re-imagined that both surprises and inspires the listener. Webb’s remixing does not take away from the talent or feel of Page CXVI, but it adds slightly more edge to their overall sound. Yet, at the same time, the electronic sound that is stereotypical to remixes in general is not overpowering. You will forget you are listening to a collection of hymns, at times, but you will also forget that you are listening to a remix album.

I hope that Page CXVI will continue to offer many releases in the near future, and I have nothing but respect for what their doing. I could have easily chosen any of their offerings to review, because they are all of the highest quality. Their collective heart certainly in the right place, and it is where many should be in the church today. Simply put, worship should transcend style and song, uniting the body of Christ in the praise of our Creator.

Review: The Heartbeat

Rating: 4.5 out of 5 stars [iTunes link]

It may be for the simple reason of being from my home state of Florida, but I am really excited about this band.

I first caught wind of Orlando-based Bellarive in late 2011, while visiting another church in the Tampa area. I heard the worship leader at that church sing “Love Has Found Us,” and it felt like a breath of fresh air in the world of worship music. Or, perhaps more accurately, a genuine breath of fresh air.

That is what is most striking about Bellarive. While their sound isn’t completely earth-shattering or “new,” it is fresh, well-executed, and above all else, genuine. There is a good balance of guitars, strings, the unmistakeable sound of the Rhodes keyboard, and hints of synth backing tracks. These sounds are not foreign to music today (worship or otherwise), but while one could call them “safe,” one can also easily tell that the band places quality musicianship behind these instruments.

The depth of The Heartbeat does not end here, however. Among the album’s twelve tracks are, surprisingly, an instrumental track called “Sing.” There is a simple refrain that can be sung to this song (at the time of this writing, you can here it on the band’s website), but the refrain is absent on the album. An interesting choice, especially considering the song title, as well as the opening sequence of the song (which contains the melody of the Doxology). I love instrumental tracks, and short of the David Crowder*Band, I can’t think of many bands that produce them. Just another small breath of fresh air.

The most striking portion of the entire album, however, is contained in the song “Tendons (The Release).” About midway through the song, bassist Josh Luker inserts a poetic spoken-word section of the song that is both jarring and genuine. According to Luker, the piece came from a extremely difficult and personal time in his life, but it speaks to the ultimate deliverance we find in God. The sheer fact that the band would insert a spoken-word piece in a song is outside the norm, but to have it be a poetic statement rooted in a very personal experience of one of the band members? It’s certainly unique, and it speaks to thinking outside of the norm in the worship setting.

Yet, this album passes many “litmus tests” for me, as a worship leader. Many of the songs seem fairly accessible for corporate worship. The sound of the band is “radio-friendly” enough to be pleasing to most ears, but while still sounding slightly different than the majority of popular Christian music. Their songs have creativity and depth, but the subject of their songs (our God, and HIs Son) is also made explicitly clear. It’s a very strong first offering from this band, and I look forward to hearing more from them in the future.

Review: I Have A Dream (It Feels Like Home)

Rating: 4 out of 5 stars [iTunes Link]

And, now, something nice from up north.

The City Harmonic is a band that has been on my radar screen since last fall, and their sound, in my opinion, is one of the more fresher sounds in Christian worship music today. Their Introducing EP [iTunes link] had some interesting offerings, most notably the wildly popular “Manifesto,” so I was looking forward to the eventual release of their first full-length album. I got even more excited when I heard that I Have A Dream (It Feels Like Home) contained all new songs; none of the songs from their EP would be on this record (aside from the radio edit of “Manifesto”). Great news for worship leaders and fans, because that means more new music from this great band.

More great news is that the Canadian-bourn band didn’t disappoint... for the most part.

What continues to strike me about this band, now having listened to this album since last October, is how much they remind me of Coldplay. Maybe it’s their use of the piano. Maybe it’s the voice of lead singer/pianist Elias Dummer. In fairness, the band does not use as much synthesized sound as Coldplay, so the comparison falls apart there. And, despite your thoughts on Coldplay, I think their sound is well-suited for the worship setting, striking a chord with listeners that other bands have (oddly) not done as much.

The theme of the album is interesting, as it is heavily inspired by the thoughts of Martin Luther King. Much like King’s idea of “a better way,” the band believes that there is a higher calling for the church to live. Instead of embracing the “artificial” nature of the culture around us, we are to wake up and live for the real Truth in the world. We are to be changed in Christ, standing counter to culture, and finding hope in the light of God during the hills and valleys of life.

And, there are some great songs that convey these points along the way. “Yours” and “Mountaintop,” in particular, are optimized for corporate settings. Still, I feel that the album runs out of steam, after the midway point of the record. As great as the message of the album is, it feels very top-heavy. “Holy (Wedding Day)” is a good effort to end on a powerful note, but I’ve been left with this feeling of incompleteness about this album. If it was paired with the band’s first EP, then this album would be worth five stars in my book. It’s a great record, and I’m looking forward to more worship music from the Great White North, but I wouldn’t buy this album without getting the EP as well.

Review: Give Us Rest or (A Requiem Mass in C [The Happiest of All Keys])

Rating: 5 out of 5 stars [iTunes link]

David Crowder*Band is (or, more accurately, was) an interesting point of focus in Christian music. People seem to argue about this band like people who debate the awesomeness of LOST. Some readily call them one of the greatest Christian bands out there, while others stamp them with the “overrated” label. Those critical of the band may just be reacting to their wild popularity, especially among students (from middle school-aged to college-aged). You can certainly see and hear them everywhere... yet, there are some that argue the band’s music lacks depth and creativity.

Opinions aside, I don’t think that is the case.

Do I think every album in the DC*B catalog is a “home run” album? No. Illuminate [iTunes link] was a foundational album for me, as a worship leader, so it holds a special place in my heart. A Collision (or 3+4=7) [iTunes link] is, in my opinion, one of the more creative offerings the band has ever done. Church Music [iTunes link] was a feat of editing genius, as the record can be played as one, continuous track; it also can give me a headache sometimes, due to its relentless use of “techno.” Both Remedy [iTunes link] and Can You Hear Us? [iTunes link] (and, even the indie All I Can Say [iTunes link]) are okay, with great songs contained in them. I feel, however, that these albums are lacking somehow, but I can't explain where, how, or why.

In 2011, the band announced that their sixth major-label studio album would be their final record. I still don’t know why the band “broke up,” and admittedly, it’s really none of my business. God draws people together and apart all of the time, so this could just be a new phase of ministry in the band members’ lives. Regardless of reason, I conclude two things about the band in retrospect. First, David Crowder and the Band that asterisked with him were (and are) extremely capable worship leaders that have left a noticeable, positive mark on the church.

Second, their final album is their best. By far.

Give Us Rest or (A Requiem Mass in C [The Happiest of All Keys]) is loaded with depth. First, it’s designed to be a parallel/continuation of A Collision; while A Collision dealt with the subject of death, Give Us Rest deals with the aftermath of death, and ultimately, the eternal life we find in Christ. It tries to accomplish this by placing a modern spin on the requiem mass, a mostly liturgical genre of music reserved for funerals. At a total of 34 tracks, it’s the band’s most extensive album ever. It is also a synthesis of dramatic shifts in genre, from bluegrass to rock opera, from classic Crowder to something not unlike Mumford & Sons, and everything else in between. To top it off, Crowder reinforces the idea of “rest” and redemption in Christ by translating it into a musical “theme,” and repeating that theme throughout the album.

There are some great new worship songs sprinkled throughout the album, namely “Oh, Great Love of God” and “After All (Holy).” By far, however, the crowning achievement of the album is the seven “Sequences.” It is probably supposed to represent the modern take on the requiem mass, and it does so with a distinct “rock opera” sound. One should listen to all seven tracks in order, to gain a proper appreciation for the work, and it may not be your cup of tea. Likewise, the album ends with a straight shot of Southern Gospel bluegrass; this may be a shock to those expecting the typical “rock/techno” blend of classic Crowder. Bottom line, however, is that there should be something here for nearly every taste, and it readily shows the band flexing their creative muscles.

Quite the swan song, if you ask me.