Over the Rhine
Live from Nowhere, Volume Two
(www.overtherhine.com)
The stalwart indie band from Cincinnati typically astounds on its studio recordings, creating elegant swaths of atmospheric Americana that color the confessional, spiritual poetry from husband-wife team, Linford Detweiler and Karin Bergquist. But catching OTR live is an altogether singular experience—the band’s without a net (which they never really need anyway), interacting and gathering energy from each other and the audience; you also get a closer peek inside their hearts and souls. Live from Nowhere, Volume Two, manages to convey the spirit of OTR in the moment quite well.

Several tunes here would be of particular interest to youth workers. Principal among them is “Failed Christian (Ash Wednesday Mix),” a track that many fans and curious onlookers initially assumed was an expression of spiritual regret or frustration from Karin or Linford. Neither is the case. It’s a cover tune by Henry McCullough, an Irish guitarist and songwriter who played with the likes of Joe Cocker and Paul McCartney. (The memorial guitar solo on Macca’s “My Love”? It’s from McCullough’s pick.) Anyway, the lyrics are devastating and honest, and Bergquist magnificently conveys the feelings behind them: I’m a failed Christian/I don’t go to church/I smoke and I drink/and I lie and I curse/it never got to me/your sermon and all/you talked and talked/about nothing at all… This tune would certainly pack a punch with a discussion on spiritual doubt.

Both “Long Lost Brother” and “Jesus in New Orleans” appear on OTR’s last studio album, Ohio, but their inclusion here gives them renewed life. The former tune, penned by Detweiler, also explores spiritual doubt and regret: I thought that we’d be further along by now/I can’t remember how we stumbled to this place/I loved you like a long lost brother/on a bad day maybe I thought why bother/I’ve seldom seen so much anger in a face/I wanna do better/I wanna try harder/I wanna believe down to the letter/Jesus and Mary/can you carry us across this ocean/into the arms of forgiveness… (The reference to Mary may interest Catholic readers, as Detweiler isn’t Catholic; though he notes on the album’s online liner notes that “Long Lost Brother” was featured on a Web site run by nuns).

“Jesus in New Orleans” is even trickier. Taking place in a dive bar in the Big Easy, the protagonist seems full of cynicism: But when I least expect it/here and there I see my savior’s face/he’s still my favorite loser/falling for the entire human race… Despite what might be viewed as a really negative lyric, the last two verses shed quite the profound light on Jesus’ character, mission, and how those in pain react to it.

These selections from Live from Nowhere, Volume Two certainly don’t qualify as “shiny, happy” tunes—but the church would be poorer if they didn’t exist.

Ric Hordinski
The Silence of Everything Yearned For
(www.richordinski.com)
Ric Hordinski is best known as the original guitarist for Over the Rhine. In the late 1980s to the mid 1990s, Hordinski gave the band much of its melodic identity, creating consistently memorable six string lines and helping vault OTR into the critical stratosphere. After leaving the band, Hordinski continued making music via his solo identity (Monk) and produced for the likes of Phil Keaggy and David Wilcox. On this all-instrumental offering, Hordinski stirs up ethereal electric guitar passages thick with atmosphere and inventive, often challenging melodies. Any number of the nine tracks are excellent mood setters—they’re perfect especially as meditative enhancers, whether for your group or for yourself. The Silence of Everything Yearned For is the musical equivalent of a rainy, misty late afternoon in autumn when the leaves have turned and begun falling and the easy chair and a good book beckon. (There’s nothing quite like evocative music, is there?)

Jeff Johnson
Standing Still
(www.arkmusic.com)
Faithfully flying high the flag of Celtic-infused worship and contemplative music, Jeff Johnson is more than a standard bearer; he’s a spirit mover. Johnson’s keyboard-based compositions and spot-on collaborative arrangements lend him an immediately identifiable sound—and one that never is short on mystery or joy or inspiration.

Here Johnson once again captures profundity in melody and lyrics, conveying the desperate need (whether our bodies, hearts, minds, and souls are nudging us or not) to stand still in the midst of life’s myriad distractions.

While there are only six tracks on the album, it spans more than 42 minutes—and offers much substance through the speakers. Employing the powers of his longtime collaborator, Brian Dunning (flute, whistles, accordion), as well as other musicians on cello, viola, and electric guitar and bass, Johnson sticks to theological cornerstones of Christianity for song themes. As such, each track has two titles—a creative moniker as well as a spiritually infused descriptor (e.g., “Standing Still—Abide with Me,” “Glory—Remember,” “Alleluia—Behold the Lamb of God”).

Whether you use these songs for youth group worship, a contemplative moment during Bible study, or just for your own enjoyment and times of rest and reflection, Standing Still will transport you (and others) to places of quiet knowing.

Caedmon’s Call
Overdressed
(INO)
What could be better than a new Caedmon’s Call album? A new Caedmon’s Call album that features founding member Derek Webb back in the fold, that’s what. Now don’t get too excited—the joyous reunion is apparently only for this album and the Overdressed tour. But hey, that’s better than not having Webb’s passionate singing and prolific pen at all.

The gang doesn’t sound like it missed a beat after six years apart. (Webb’s built quite the acclaimed solo career over that span.) More than that, the band this time out is deep and wide and poignant and evocative and forlorn and happy and supremely confident; Overdressed sounds like veteran songwriters and musicians at the top of their creative games. Plus, the dozen acoustic-based tracks are far from homogenous. (To wit: By the end of “Hold the Light” and its gloomy, minor-key atmospherics and heavy narrative comes the total joy of “Two Weeks in Africa” and its devoid-of-irony account of all the good that can come from missions to that continent—which gives way to the pure acoustic pop and bop of “Love Grows Love” and Danielle Young’s fine lead vocals.)

We find Webb in familiar territory on “All Across the Western World,” a simple acoustic number that attains a memorable quality thanks to brilliant three-part harmonies (Webb with Danielle and Cliff Young) and Webb’s take-no-prisoners-from-the-church lyrical approach: our banks are full but our souls are poor/all across the western world/so melt your wings like wax to fire/and let yourself fall out of time/from ashes we rise… Webb turns his unflinching observations upon himself on “Trouble,” the album’s opening track, as he admits how unfathomably wide is the gulf that would separate him from God if not for Christ’s sacrifice: cuz when I’m with you I feel so overdressed/the trouble is I’m not above or beyond anything/so I know you must be good for me/as far as you can and as bad as I am/ oh I know you must be good for me…

Overdressed is one of those albums without weaknesses. Its magic is courtesy of a group of veteran musicians who know exactly who they are—and what they do best.

Shane & Shane
Pages
(Inpop)
Shane Barnard and Shane Everett have waged war on the calendar dating back to their 2002 debut, recording and touring and belting out their otherworldly two-part harmonies about 250 times a year, mostly to college kids. So the duo took some time away from the rat race; it’s been three years since Clean, their last release.

While the respite undoubtedly reenergized them, the time off would have been better spent had Shane and Shane contemplated a short list of big names who could come from the outside to produce their new album—because the result, Pages, feels like a novel filled with the same set of clever lines simply restated or repeated with little variation. And recruiting the guy who manages their recording studio to coproduce wasn’t enough—they needed a true outside voice here who could’ve forced the pair to ditch their bad habits.

Not to say that there aren’t some great songs on Pages: In fact, the album opener, “Vision of You,” primes you for what you expect will be an amazing song cycle. It exacts a simple, alternately descending and ascending melody line punctuated with the fellas’ masterfully executed harmonies—it’s a stunning plea that God would move us and rouse us toward worship. And the fact that it’s a slower ballad shows that Shane and Shane aren’t afraid to bum-rush convention, as opening album tracks are typically uptempo. In addition, “We Love You, Jesus” is a fabulous piece of radio pop with a solid, heartfelt message (and one that has rightfully received a great deal of exposure on the airwaves).

But for the most part Pages is an hour of skillfully executed songs that meander to the point where each track begins to sound like the one before it. Much of this can be blamed on a homogenous tempo and overemphasis on balladry, for sure; also to blame, however, is Shane and Shane’s singing. Again, they pull off fabulous harmonies, but they, too, begin to sound the same after a while—you know where to expect them in upcoming chorus lines and even how they’ll sound.

I’ve acknowledged since their 2002 debut the talent and passion Shane and Shane possess, but to ascend to the proverbial next level, they really need a proverbial “good editor”—i.e., an outside producer who can evaluate what they’ve created and work with them to hone their music to fine point. Here’s hoping…

Ron Block
Doorway
(Rounder)
The guitarist-banjoist for Alison Krauss and Union Station steps out with his second, self-produced effort. That his bandmates lend their instrumental prowess (and in Krauss’ case, vocals as well) to Doorway doesn’t hurt—the dozen tracks are a delightful mix of acoustic folk, country, and alt-country tied together with Block’s winsome, almost innocent vocals.

That Block is a man of faith is not terribly surprising; with the increasingly faith-filled lyrical approach employed by his employer, it makes sense that Block’s solo work would take on a visible mantle of biblical belief. And as it turns out one of the main influences for Doorway is C.S. Lewis’ The Chronicles of Narnia, as two of the books in the series use doors as faith metaphors.

So if you’re a fan of Allison Krause’s music—or simply a lover of alt-country and Americana with a faith-filled bent—Block’s newest collection of tunes are sure to please.

SHORT JABS, GLOVES OFF

Jason Upton Beautiful People—If Jason Upton gets any more inventive, he’ll have to invent a new way to communicate his creativity; endlessly broaching the bounds of traditional worship, Upton lets his soulfulness fly here. Give your ears a treat and listen.

Jeff Johnson & Brian Dunning King Raven, Volume 2—A short EP (four tracks) of Celtic instrumental music inspired by the second installment of Stephen R. Lawhead’s King Raven Trilogy, a retelling of the Robin Hood legend. Haunting and ancient.

eleventyseven Galactic Conquest—The trio turns in an endlessly tight slice of pop-punk flavored with a tongue-in-cheek interstellar thematic approach (i.e., lots of noises that sound akin to Hal9000’s melodies); but their ultra-high harmonies saddle them with a persona not too far from Alvin and the Chipmunks—but maybe the chicks dig that.

Robbie Seay Band Give Yourself Away—Wow! I knew RSB was making serious strides forward, but this release is top-echelon on all levels. Smart, catchy alt-rock mixes with Seay’s appealing rasp, all coiled around insightful, theologically rich lyrics. A winner.

Ocean’s Above Ocean’s Above—A collective of friends who’ve added modern, electronica-oriented twists to familiar praise songs and hymns of the church (e.g., “Beautiful One,” “Lord, You’re Beautiful,” etc.). A worthy endeavor and a decent effort.

12 Stones Anthem for the Underdog—Excellent hard rock from this veteran, Gulf-shore outfit; as Hurricane Katrina hit during the writing stage, much of Anthem for the Underdog speaks to the process of recovery, rebuilding, and restoration. Moving.

Tree63 Sunday!—Another gem of worship-oriented, hard-edged alt-rock from the South African trio, Sunday! plainly spells out the joy that waits each believer in Jesus on the other side of this world. A refreshingly unaffected collection of original songs.

The Send Cosmos—More or less the singular vision of Joe Kisselburgh, former guitarist of hard rockers Falling Up (along with production help from the legendary Aaron Sprinkle), the Send turns in emo-tinged alt-rock that revels in nuance, both musically and lyrically. This one has some layers, people.

Todd Agnew Better Questions—You have to admire Agnew’s penchant for simple, backwoods, bloozy rock here, but his ultra-low baritone (which sounds too low and pitchy all too often) is a major distraction to appreciating the other elements of this album. Someone should’ve kept a better ear at attention.

Britt Nicole Say It—This debut artist would’ve given fellow teenager Jordin Sparks a run for her money on American Idol—she can really belt out the tunes. Her powerful vocals, in fact, push the envelope on this well-crafted release to the point where adults as well as kids are bound to enjoy it.

Thousand Foot Krutch The Flame in All of Us—Yes, all the blistering hard-rock elements are present and accounted for, but to varying degrees elements of (sigh) sweetness infuse these tracks. Even a throbbing, headbanging cut such as “New Drug” feels a tad too polished. As always, though, your kids will likely dig the words and melodies.

BarlowGirl How Can We Be Silent?—Another solid release from the trio of hard-rocking sisters who this time out champion the need for Christian youth to show strength and fearlessness while sharing Jesus with their generation (although it’s a bit heavy on the fighting/battle metaphors).

Kids in the Way A Love Hate Masquerade—Killer collection of rocking tunes colored only slightly by punk (i.e., more quality pop here). Strong harmonies, tight playing, and passionate takes on the ups and downs of relationships. Good stuff.

NEEDTOBREATHE The Heat—Soulful, rootsy, pop-rock sophomore effort that’s as far away from slump as one can get. With singer Bear Rinehart sounding like a gritty cross between Dave Matthews and Counting Crows’ Adam Duritz, as well as Collective Soul’s Ed Roland taking part in production, The Heat sheds a lot of melodic and spiritual light.

WORTH A MENTION

Carried Away I Want You—Female trio of singers get poppy
CO3 Determined—Outfit fronted by Carrie Underwood’s former bandleader  
Mandisa True Beauty—Another American Idol finalist joins the album-release fray
pureNRG pureNRG—Prepubescent trio (two girls, one guy) exude positivity
VeggieTales God Made You Special—A “best of” with new ’toons
PlayRadioPlay The Frequency EP—“Poptronica” from a teenage one-man band
Mark Roach Every Reason Why—New slice of modern worship
Ben Tankard Let’s Get Quiet: The Smooth Jazz Experience—All-instrumental jazz