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.

Review: Ghosts Upon the Earth

Rating: 4.5 out of 5 stars [iTunes link]

I know this album has been out for a while, but given this group’s tendency towards merging worship with creativity, I feel like this is the proper place to start my first album review.

Gungor, the Denver-based worship collective, has in fact captured my attention since their “first” album, Beautiful Things (also fantastic [iTunes link]). Michael Gungor has been around the worship scene for a while, but a few years ago, he and his band underwent a kind of “professional rebranding.” This resulted in a new name, and a radically different sound. Beautiful Things was fantastic, but as with most singers or bands that are worth anything, they have a choice once they reach a certain point of success: stay the same, or explore other sounds and ideas that mature and grow the band.

Thankfully, they chose the latter.

Michael Gungor recently wrote for RELEVANT Magazine [article link], speaking about his motivations for Ghosts Upon The Earth. In that article, he explains that the majority of Christian worship artists (in his view) record 8 to 15 “snippets” on a given album, with each song striving to be the “home-run song.” This results, in his opinion, with a disjointed and shallow offering that lacks real depth and creativity.

Gungor writes:

"It would be naive to think our liturgy has not been affected by today’s culture of pop music singles. Our church services can become disconnected from a consistent story. Planning the worship service often becomes about finding the best four or five worship singles that will keep people engaged, and then a sermon is given that is separate from anything done in the service up to that point. It’s all about the hits.

I don’t think most Christians today give much thought to the overarching stories that form not only what we claim to believe but how we live in the world.​"

Compelled to change this lack of depth in worship music, Gungor believes that one remedy is the concept album. The concept album takes an overarching idea, and uses it as the found

ation for every song. The result is a woven narrative throughout the entire work, one that would take the listener/worshipper through an idea in a deeper manner. In Ghosts Upon The Earth, Gungor moves from Creation to the Fall to man’s ultimate redemption through Christ. The highlight is the beauty of life in Christ, and how His redemption restores our created purpose to enjoy life with God.

What a massive idea.

The best part is that Gungor uses this concept album to further mature the collective’s sound and style. Ghosts Upon The Earth feels like the natural progression of the band from Beautiful Things, not just a continuation. There is still a strong Indie/Folk flavor to the sound of Gungor, but this album incorporates other sounds and dynamics that add color and life to every song. If the concept album is to be more of an “experience” for the listener/worshipper, then this album answers the call wonderfully.

The only major drawback (at least for worship leaders) is that some songs may not translate well into a corporate experience, once they are taken out of the context of the album. This may simply force worship leaders to be more considerate of how they plan services, which to a degree, was the band’s goal. I don’t think this means that every service needs to be a performance of concept albums, and I don’t think that was Gungor’s intent, as well. Worship leaders should be more mindful of the story they tell, as they lead worship; deeper worship will translate into deeper belief, which will ultimately lead to deeper relationship with God.