How Can We Be Silent by Barlowgirl

Reviewed by Darcie Gudger

 

"How Can We Be Silent rocks. Hard. This album will be sure to rise to the 'most played' list in your music player."

 

 

We can’t – be silent, that is, especially about this incredible new release. Believe me, if you liked BarlowGirl before, you’ll love them after listening to their new release, How Can We be Silent.

How Can We Be Silent presents the trio of sisters at their very best. The lyrics, musical style and diversity reach a higher plane of maturity than previous albums BarlowGirl and Another Journal Entry. Styles range from hard rock (“Million Voices”) to a surprising “One More Round” which is a funky jazz number complete with the coolest walking bass line. I can’t help but punch the “back” button on my iPod to replay that track over and over again.

Lyrically, my favorite song is cut 2 – “I Believe In Love”. Most, if not all of us, will walk through long periods of time where we notice the excruciating absence of God. Ponder these faith-building words for a minute - I believe in the sun, even when it’s not shining, I believe in love. Even when I don’t feel it, and I believe in God. Even when He is silent and I, I believe…

What separates BarlowGirl from the rest of young female vocalists is their understanding of the reality of walking with Christ. Being a Christian is hard. Sometimes it downright stinks. Jesus himself says, “In this world you will have trouble, but take heart! I have overcome the world! (John 16:33).” Barlow Girl captures the emotions for these seasons offering hope. Their tight vocal harmonies and deeply textured instrumentation pull the soul of the listener into the presence of God.

In “Keep Quiet”, lead vocalist Alyssa challenges us to be bold in sharing our faith, Jesus, Jesus, why’s your name offensive? Why are we so scared to tell this world you saved us? When all of our hope, all the world’s in your name – why are we so scared to say Jesus? The driving electric guitar and beat help drill the question into our brains while making it obvious Lauren, Alyssa and Becca aren’t afraid to say His name.

Most importantly, BarlowGirl practices what they preach. They are great role models for teens struggling to stay pure and focused on Christ in a postmodern world. Take time to read their thoughts on their website www.barlowgirl.com.

How Can We Be Silent rocks. Hard. This album will be sure to rise to the “most played” list on your music player.

 

 

Beauty Will Rise by Steven Curtis Chapman

Reviewed by Bert Gangl

 

"Chapman opens the depths of his soul, harnesses the grace and strength that have waited within, and reflects them back to God and his audience."

At first blush, the image of Steven Curtis Chapman standing, arms upraised, on a barren mountainside overlooking the ruins of a village ravaged by natural disaster might seem an odd – not to mention decidedly less than photogenic – choice to grace the front cover of his latest release. Those familiar with Chapman's most recent comings and goings, though, will quickly realize that perhaps no other picture sums up the last year and a half of his life more accurately or succinctly.

On May 12, 2008, Chapman and his wife were wrapping up a four-week visit to China when a 7.9 magnitude earthquake hit the country's Sichuan province, killing nearly 70,000 people and leaving 4.8 million homeless. Although the Chapmans were far enough from ground zero not to even feel the quake, they soon suffered a crushing setback of their own less than two weeks later, when their youngest daughter, Maria, herself a Chinese adoptee, was killed in a tragic automobile accident at their home in Nashville. Chapman returned to China in July of this year to attend the grand opening of an orphanage named for his daughter, and performed a concert in the Sichuan province, where the cover photo was taken.

Not surprisingly, the better portion of the new project mirrors the inevitable bleakness Chapman and his family have experienced in the wake of his daughter's passing. While many an singer places their faster, more rousing material at the beginning of their records, the somber, nearly percussion-free, album opener, "Heaven is the Face," is not so much a case of an performer leaping out of the starting blocks and declaring, "Here I am!" as it is a snapshot of an artist deep in the midst of contemplation and recollection, completely oblivious to the outside world. In the title track's lack of a pronounced verse/chorus/verse structure , one can almost hear the sound of a soul meandering in search of an emotional anchor point amidst its anguish. And the absence of layers of studio gloss on the stripped-back, acoustic guitar-based "Just Have to Wait" and "God Is It True (Trust Me)" seems only fitting in light of those songs' bleak, emotionally raw, subject matter.

Given its lo-fi, largely understated nature, the musical portion of Beauty can tend to fade into the background at times, coming across as almost an afterthought. Of course, one can only imagine that, this time out, Chapman was far less intent on finding the perfect hook and melody than he was on simply chronicling his own sadness and uncertainty. To that end, he has succeeded brilliantly. "February 20," which details young Maria's salvation just before her death (As she prayed, "Jesus, Can I come live with You?"/ We could never have imagined/ She'd be going there so soon), is a spellbinding mixture of temporal loss and eternal triumph. The likewise engrossing "Our God Is In Control" and "I Will Trust You" (I don't even want to breathe right now/ All I want to do is close my eyes/ You're all I've got) find Chapman piercing his unrelenting heartache with encouraging slivers of hope. Most impressive of all is the masterfully-penned "Questions" (God/ How could You be so good and strong/ And make a world that can be so painful), which stands out as arguably the most unflinchingly honest song Chapman has ever committed to disc.

Given that they were penned in the wake of such unimaginable grief, one can only guess that the songs on Beauty came to Chapman without much conscious thought or deliberation. And it is arguably this direct, unaffected approach that ultimately renders the album his most gripping outing to date. At first glance, it would seem almost ironic that a release whose subject matter is so closely tied to one specific event should, at the same time, be Chapman’s most universally accessible. But, even those who haven’t experienced the agony of losing a child have surely, at one point or another, longed violently for an end to their pain, regardless of its source.

Unlike so many of his previous records, which seemed to be composed with one eye inclined to those who would eventually hear them, the new project finds Chapman aiming, not for the entertainment of those who will ultimately hear it, but simply for his own catharsis and eventual healing. While it isn't his most instrumentally engaging effort, it is, without question, his most unique and absorbing – a lyrical masterwork through which Chapman opens the depths of his soul, harnesses the grace and strength that have waited within, and reflects them back to God and his audience. Suffice it to say that both parties are certain to be well pleased with the end result.

 

To the Foundation by Christafari

Reviewed by Lori Fox

 

"Christafari hasn't missed a beat ... To The Foundation will please old fans and new."

 

After nearly 20 years of making and producing Gospel Reggae, Christafari hasn't missed a beat. Their new album To The Foundation will please old fans and new.

While To The Foundation doesn't reach the same power and heat that Soul Fire (1995) had, it rocks just a bit harder than Valley of Decision (1999), which had an easier, more Caribbean sound. It isn't until Gravity (2003) was released that Christafari began to reach this matured, grounded sound.

While I do miss the deep, growling sound vocalist, producer, and founder Mark Mohr had, most notably in Soul Fire, the passion that fuels him comes through all the stronger for the lack of shouted vocals, and for the first time I've been able to fully appreciate the motivation behind each song.

The song that demonstrates this best is track 14, “Too Many Cannibals”. It wasn't until I heard the phrase "it seems the sheep are more dangerous than the wolves" that the meaning of the song really clicked for me. As Christians, it's so common to bicker among ourselves, attack each other, and try to bring each other down. We do more damage to ourselves and each other than anyone else could ever do. Skillfully, Mark points this out in such a way that you can't miss it if you actually listen to the words.

As for the sound, I found “Rooftop” surprisingly danceable despite the deeper nature of the lyrics, and “Never Give Up” has a nice, slow groove to it. There are a number of featured artists such as Avion Blackman, Mr. Lynx, and Ace Winn, among others, that lend each song its own flavor, while still blending smoothly into one strong album.

For those who are unfamiliar with Christafari, but who enjoy reggae as a whole, I noticed some outside influences. Much of that comes from the featured artists, but I did notice that “Triumphal Entry” and “Never Give Up” seemed to have a bit of influence from the Black Eyed Peas. Or perhaps it's the other way around. Christafari has been highly influential in the music world for many years and some of the influence may have come full circle.

In all, I rate this CD very highly for fans of Christafari. Their music has evolved over the years, but while I would rate their early work no lower than To The Foundation, neither would I consider To The Foundation as anything less than their early albums. If you already like Gospel Reggae, you will not be disappointed.

 

Letting God by Bread of Stone

Reviewed by Caleb Newell

 

 

"This CD is laced with hard hitting issues we face everyday..."

 

From having the privilege of sharing the stage with artists like Petra, DecembeRadio, and Casting Pearls to Toby Mac, Jars of Clay, and Chris Tomlin, Bread of Stone (BOS) has captivated audiences everywhere with astonishing performances as they expand their boundaries. They are infused with an energy that finds its source in their passion for bringing others closer to Jesus, and they have a unique sound that’s all their own. Having released two CDs, they are fine tuning their message and honing in on their God-given talents. When questioned about their name Bread of Stone, they stated, “We are merely stones that God turns into bread to feed the hungry and that without Him, no one can accomplish good in this downfallen world.” Their new project, Letting Go, is filled with the message of complete surrender.

BOS’s foreman and song writer, Ben’s, journey into a deeper relationship with Jesus as he came to the conclusion that the only way to have true friendship with Christ was to humble himself, is the basis from which Letting Go is tailored. “Everyday” is a chance at new life and says that we can only be made beautiful in Christ. “Letting Go” speaks on how we as Christians want to have less of ourselves and be consumed by Him. A declaration, “Somewhere”, is a song of how God is somewhere out there and that at the end of this journey we’ll see out savior’s face, be at his side, feel his warm embrace, and we will never be the same again. “I Want” is a declaration and longing to know the existence of God, and to be with Him someday.

So many have been persuaded by the tribulations and lies of this world, states “Life of Truth”, and we need to take them by the hand, showing them God through our life. “Not My Own” states how this life goes by so quickly and how the only way we can make a difference is if we humble ourselves before God and allow Him to guide our life. We can’t do anything on our own accord to deserve or not deserve God’s love through anything within ourselves, says Mark through “Never Buy Your Love”, but it is through God’s grace and mercy and Jesus’ sacrifice that we can be saved. All we have belongs to God and everything we have should be used for His glory, states “Obsession”, and God is our only true obsession, to use His possessions, that have been lent to us, for his glory. “One More Time” is a plea that God will use us one more time, even though we have turned our back on Him. “Frozen In Time” is a call to action, for the hurting and lost people around the world; “So what/ What are we waiting for/ Can we see the tears that fall down/ Are we frozen in time.” We want to change our life and ways but we can’t seem to ever get to that changing point, states “Take My Life”, a plea for God to take our life as our offering.

This CD is laced with hard hitting issues we face everyday, and praise to Him. The album is highlighted with unforgettable melodies and genuine lyrics that speak the truths for life. Through BOS’s ministry/outreach, they have seen numerous others letting go and coming to Christ.

 

Love and War by Barlowgirl

Reviewed by Dale Lewis

 

"...a must-have for all BarlowGirl fans! It is their most musically adventurous album to date.""...a must-have for all BarlowGirl fans! 

 

Rebecca, Alyssa and Lauren of BarlowGirl present to us an overt dichotomy: bold and aggressive contrasted with tenderhearted transparency. They have a warrior-like approach to their music. It is this passionate obedience reverberating throughout their third release, Love and War.

At first listen, Love and War appears contradictory . . . but listen a little closer and you’ll find the songs embodying the hope and love we have for God and for those who are experiencing unbearable difficulties.

Alyssa states that, “The time is now to rise up and to get what God has for us. The time is now to rise up and learn what it means to be loved by God, to learn what it means to be set apart, to learn what it means to embrace our destiny and embrace our calling to the extreme. That is the thread running through all of these songs.” The piano introduction to a couple of their songs is a perfect way to enter into the richness of the lyrics.

The sonic sounds of Love and War closely align with earlier BarlowGirl titles while still remaining true and strong with their lyrical content. The revealing ballad 'Beautiful Ending', their heartfelt plea in ‘Stay With Me’ and the Beatles-like ‘Our Worlds Collide’ certainly has hit potential, although that isn’t important to the three sisters. Six years into their musical ministry, Lauren can’t imagine making these memories with anyone else . . .“I’m just so blessed to be able to live this life with my family.”

With its haunting piano introduction accented by the staccato of the percussion, “Beautiful Ending,” is a revealing ballad displaying an emotionally weighted story as well as the sisters’ gorgeous, harmonizing vocal blend.

The achingly beautiful ballad “Tears Fall” touches on the very sensitive subject of abortion, and yet God’s truth is clearly presented in this emotionally driven song: “ . . . And all our claims to freedom have become just heavy chains and in the name of rights, we keep filling nameless graves.” This song is a very poignant call to action and repentance.

Love and War, produced by friend Otto Price, is a must-have for all BarlowGirl fans! It is their most musically adventurous album to date. Alyssa states, “We feel like this is our coming out CD. It’s like something happened to us that we can’t totally put into words yet, but we’ve grown up.” 

 

 

Beyond Measure by Jeremy Camp

Reviewed by Katie Hart

 

"Each song sparkles with excellence."
  

 

Jeremy Camp has ranked up an impressive line of accomplishments in the four years since his label debut in 2002: five Dove Awards (including Male Vocalist of the Year twice in a row), his past three studio albums certified gold, and nine #1 singles. Yet in his latest release shows his humbleness and gratefulness for where God has brought him. The title track proclaims, I know that I’ve been given more than beyond measure. I come alive when I see beyond my fears. I know that I’ve been given more than earthly treasure. I come alive when I’ve broken down and given You control.
As he thanks God for his beautiful life, he doesn’t mention the accolades and awards, but his family. After losing his wife to cancer when he was only 23 (his powerful story of hanging on to faith through loss spills out in the song “I Still Believe” in Stay), Jeremy married Adrienne (Adie) Liesching, formerly of Benjamin Gate. They now have two daughters, and Adie has recently released her own album, Don’t Wait.
Beyond Measure branches out past Jeremy’s earlier releases musically. While each song still has the signature style fans have come to love, with Beyond Measure he seems to have freed himself to experiment a little more. The album opens with a hard-hitting song of dedication in “Tonight,” then mellows out by the end to wrap up with the worshipful “Give You Glory” and the simple “Give Me Jesus.” The lyrics are as strong as ever: Sometimes I feel a fight to release the grip and trust that everything will be alright. It’s been so real to feel the peace that you start unfolding when I let things go. Jeremy wrote or co-wrote nearly every song, and Adie adds backing vocals to three of them.
It’s difficult to choose a favorite song from the mix of catchy beats and melodic tunes. Each time I settle on one, another reminds me of its delightful facets. But that’s one of Jeremy Camp’s trademarks – he doesn’t settle for a couple good singles, then pad the album with okay fillers. Each song sparkles with excellence, worthy of addition to any music lover’s collection.

 

Get In, I'm Driving by Ginny Owens

Reviewed by Adrian B. Martinez

 

"My suggestion to everyone is to simply turn over your keys to “Get In, I’m Driving” and let Ginny take you on a drive you will not soon forget."

 

With Get In, I’m Driving Ginny Owens is announcing she is back, and back with a furor. If you have the fortitude to as she says in the first cut “Get In”, you will not be disappointed.
This 11-track set released on her new label partner, Soul Stride Records (part of EMI Gospel Distribution) is a mix of Blues, Pop and the lush Piano ballads that brought Ginny’s voice to our ears over a decade ago.

From the sultry piano ballads to the bluesy title track, this set is a reminder of Ginny’s vocal delivery. Stripping down the Stevie Wonder classic “Higher Ground” to just her voice and her piano, POWERFUL. It doesn’t get any better than “Rain”, “Joined At The Heart”, or “The Song”….OK, I’m a sucker for the ballad. “We are humbled to be part of a greater story written by the author of miracles and stars….” She sings in “Joined At The Heart”….” As this journey unfolds, there is one thing that we know – God has made it so we are joined at the heart”.

Describing the experience of creating this CD, Ginny says “…I’ve just finished my first experience driving a CD project, incorporating my favorite musical styles in a diverse array of songs…. I joke about driving a car and try my hand at “driving” my music, but there is no question who is driving my life. No matter how much I fight for the wheel, He continues to show me that my journey is not for me to drive—instead I look to Him to lead and hang on for the ride.”

My suggestion to everyone is to simply turn over your keys to “Get In, I’m Driving” and let Ginny take you on a drive you will not soon forget.  

 

 

Cities by Anberlin

Reviewed by Cory Clubb

 

"...their best and most talented work to date."

 

 

It’s time for round three with breakout rockers Anberlin. For their third and final studio recording with Tooth and Nail Records, they give us Cities. After such acclaim and positive reviews from their first two albums, Blue Prints for a Blackmarket and Never Take Friendship Personal, there’s a lot of anticipation surrounding Cities. Sometimes though, living up to the hype can be a hard thing to deliver on. Yet Anberlin does not fail us; they bring their best and most talented work to date.

Starting off with a static montage of whining guitar feedback and passing sirens in the first track “Debut”, the song provides a tingling transition straight into the explosive single “Godspeed”. From there each track moves into the next flawlessly. Prominent songs like “Adelaide” and “Reclusion” keep up Anberlin’s diverse style and sound. Frontman Stephen Christian’s voice is so versatile it impresses whether he is blending with a melody on “The Unwinding Cable Car” or yelling out his passion on “A Whisper and a Clamor”. The final two tracks, “Dismantle. Repair” and “*Fin” are arranged so well, they titer on epic. Although Anberlin’s lyrics are hard to decipher, they don’t offend or use distasteful anthems. Most songs are about relationships loved and lost. Other topics touch on loneliness and desperation as heard on the track “Hello, Alone”, and calling on us to rise and move on in “A Whisper and a Clamor”.

When released, the album Cities also offered a special edition cd/dvd option that added three bonus tracks. Although these tracks have been re-released on the band’s compilation album Lost Songs, they don’t seem to fit too well with this record. The DVD is a behind the scenes look at the making of Cities and a rare insight at the members of the band. It shows what kind of togetherness and hard work it is to put together an rock album.

Cities is a driving, hard hitting album that doesn’t disappoint. Anberlin does what few bands only dream of on this release. Having signed recently with Universal Republic Records for their next release in 2008, this reviewer hopes that Anberlin’s edgy style and musical passion don’t get deluded into the mainstream merge and ruin such a fantastic band. 

 

Addison Road by Addison Road

Reviewed by Adrian B. Martinez

 

"...an enjoyable listen with simple and direct lyrics."

 

This whole album is about that process [of being renewed and refined by God] of refining but also getting out of our comfort zones and taking that grace into the world”, says Jenny Simmons, the lone female member of the band Addison Road, when describing their self-titled INO Records debut (home to Sara Groves, Mercy Me, Skillet and Connersvine).

This five-piece band from Texas offers a major label debut with energetic pop rock compositions, upbeat anthems of encouragement, prayer and a call to action. Together for 6 six years, Addison Road has paid their dues, including constant touring and performances at festivals, conferences, and camps, and a bit of band discord. They have even released two indie albums and an EP before getting the INO Records deal.

In addition to Jenny Simmons, Addison Road is comprised of Ryan Simmons (Jenny’s husband) on guitars, keyboards and vocals; lead guitarist/vocalist Ryan Gregg; bass player Travis Lawrence and on drums Jeff Sutton. Lyrically this album explores the themes of Christian life such as finding your place in the world and in God’s grace. That theme is never more prominent than in the hit “All that Matters”.

With a voice not unlike that of Amy Lee [Evanescence], Jenny Simmons’ is at home on the single “Hope Now”. The song is the result of a turbulent period in the band’s history. They were told that for a band singing Christian music (which is supposed to inspire hope) they were too negative. “Hope Now” does have a somber beginning, but I challenge you to become a listener and let the song take you away as Jenny’s voice builds to a crescendo beautifully complemented by the harmonies of the male members of Addison Road as they all sing to God, “…your love sets me free.”

You do not reach this surprise until Track #4 of this 10- track compilation, and as a whole “Addison Road” is an enjoyable listen with simple and direct lyrics. Best served when she is not fighting against the shouting match of the instruments, the simplicity of Jenny’s delightful falsetto is also given due service on songs “Run” and “What Do I Know of Holy”. For those fans of Kelly Clarkson and Ashlee Simpson, Addison Road has created the “pump your fists in the air and repeat after me” anthem, “It Just Takes One”. This call to action, which urges listeners to live out their faith to impact the world, is sure to be a favorite this festival season.

Addison Road uses a theory of Plato to further explain their heart's desire: Necessity is, indeed, the mother of invention. People almost always get creative, not for the fun of it, but because they need it. The beautiful part of that scenario is that more often than not, when necessity produces invention, this result is amazing….or in the case of Addison Road, who put their heads and hearts together on this creative invention, it is a blessing.

  

Need by Todd Agnew

Reviewed by Dale Lewis

 

"...an inspirational and expressive blend of rock-solid music and profound lyrics."

I must confess I’ve heard of Todd Agnew but have never taken the time to listen to his music until now. With his newest offering, “Need,” four of the twelve tracks are original songs, while the remaining eight are his creative covers of those lyrically rich hymns of our past. Although there seems to be an abundance of artists rearranging hymns nowadays, Todd’s take is well planned out and filled with worship. With his theme of need, the message of “less of me, more of Him” was clearly presented.

From the sweet Memphis blues in "Joy Unspeakable," to the gritty rock in "Breakable," to the piano driven “The Love of God,” Todd has breathed new life into many of the hymns we’ve grown to cherish over the years. I felt I was in the middle of a gospel sing-off with his rendition of “Deep Love of Jesus,” even though we lost the guitar solo during the bridge.

He finishes up this CD with an original worship song entitled “Jesus, Hope of Glory.” Although I’m not a fan of repeating lines over and over again in a worship song, this title is heartfelt praise to the only audience who deserves it. The abrupt ending to the song was somewhat disconcerting. In a reaffirmation of the need to be silent before the Almighty, “Written on the Wall,” is a heartfelt yearning to hear and discern God’s will amidst the world’s deafening noises. Todd's raspy colored vocals evoke the passion of his heart.

The powerful worship led first with driving guitars in "Higher Ground," fades to a conclusion free of any instrumentation and a background of spontaneous solo expressions from the choir centered on these words of the chorus:
“Lord, Lift me up and let me stand, By faith, of Heaven’s table land. A higher place than I have found, Lord, plant my feet on higher ground.”

"Need” is an inspirational and expressive blend of rock-solid music and profound lyrics. I was pleasantly surprised by Todd’s delivery of these time-tested hymns as well as his own original works. He reminds me vocally of a younger Bob Dylan or Mark Heard, a CCM artist from the early ’80s. I will definitely listen to his other recordings in order to hear more of his own songs. 

  

                                                               My Paper Heart Deluxe
                                                                 by Francesca Battistelli 

 

Reviewed by Dale Lewis

 

"The themes of trust, dependence and taking risks are clearly evident throughout these tracks. A hope-filled, positive vibe permeates the entire collection."

Inspired by legendary jazz greats and contemporaries like John Mayer, Sara Bareilles and Nicole Nordeman, singer/songwriter Francesca Battistelli pens common sense, non theology-heavy lyrics and then weaves them into pop, soul-infused music appealing to listeners of any age. Her music genre includes jazz, rock, gospel and lots of R & B. Francesca’s music has also been featured on several television shows and movies.

Nominated for 10 Dove awards and a Grammy, her 2008 release, My Paper Heart, is now packaged in a Deluxe edition. This new release includes two additional tracks as well as four dented fender sessions of her favorite titles. These four songs are more like enjoying her music in a relaxed, acoustic setting, a coffee house per se rather than a major concert . . . an experience versus a performance.

Having grown up in the 70s and 80s, Francesca reminds me of a young Kathy Troccoli. Francesca matches Kathy in soulful passion, upbeat energy and transparent authencity. I was hoping for a few more ballads from Francesca. With the added dented fender sessions, we get a tiny glimpse of Francesca singing a ballad and how the lyrics can soak deep within the soul.

On the title track, “My Paper Heart,” Francesca tackles the fragility of the human heart with the underlying theme being, ‘I am forever safe in His hands.’ I believe “Time in Between”
would be an excellent addition to a Good Friday or Easter service for the simple reminder Jesus’ life was so much more than just Bethlehem and Calvary.

The themes of trust, dependence and taking risks are clearly evident throughout these tracks. A hope-filled, positive vibe permeates the entire collection.

A message of truth and purpose is more important to this young artist than awards or an ever increasing collection of top radio hits. As she notes, “Ultimately, I want to be an encouragement as an artist and a fellow believer.”
Reviewer favorites include “Free to Be Me,” “My Paper Heart,” “Beautiful, Beautiful” and “Time in Between.”

I don’t think you have to be a Francesca fan to enjoy her music, just a fellow Christ-follower wanting to join her in celebration and worship of the Almighty!

 

 

Counting Stars by Andrew Peterson

Reviewed by Bert Gang

 

 

"...offering newcomers and dyed-in-the-wool devotees alike an impressive array of intriguing, sturdily-crafted pieces from one of Christian pop’s most talented practitioners."

 

James Lipton, host of the Bravo cable television series, Inside the Actors Studio, once quipped during an interview with John Cusack that, “When you go to see a John Cusack movie, you know exactly what you’re going to get.” Far from intimating that Cusack was one-dimensional or less than thoroughly engaging, Lipton’s remark was actually meant as an acknowledgement of the consistency and distinctiveness of Cusack’s imposing body of work. Those most familiar with Andrew Peterson’s career trajectory up to this point might well be tempted to apply that same sort of remark to the critically-heralded performer’s back catalog. Indeed, from the time of his 1996 debut indie debut, Walk, all the way up to 2008’s Resurrection Letters, Volume II, the man who many have dubbed the heir apparent to Rich Mullins has been faithfully surveying the intersection where the folk and pop roads meet, with equally winning results.

Fortunately for those in the fan base, Peterson’s latest work serves up yet another welcome slice of that which his truest devotees are hankering for. The winning album opener, “Many Roads,” marries an absolutely engrossing melody line to a consummately-woven instrumental texture that is, at once, both lilting and haunting. Likewise, the buoyant cadence of “Dancing in the Minefields” ought to be at absolute odds with its distinctly sober-minded thesis on the inherent challenges of married life – and yet, somehow, its disparate halves fit together flawlessly. The sparseness of the beautiful piano-based “Isle of Skye” works perfectly to heighten its inspiring sense of majesty. And the country-inflected minor-keyed tones of “In The Night My Hope Lives On” run in reverse time through essential ‘80s-era Mellencamp releases like Scarecrow and The Lonesome Jubilee all the way back to the enthralling traditional folk well from which Peterson seems to draw from so effortlessly.

His sparkling musical acumen notwithstanding, it is Peterson’s lyrical skills that truly set him apart from the majority of his peers. Like each of the projects that have come before it, Stars shows him to be a songwriter of near-unparalleled literacy and insight. “The Magic Hour” (“Come walk the cedar stand/ Over the broken dam/ Sit on the bench at the bend in the trail again”) paints a picture of razor-sharp clarity and heart-warming poignancy. “Many Roads” highlights his uncanny ability to bounce between self-effacing humor (“If you traveled all this way/ Then I will do my best to play/ My biggest hits/ That don't exist”) and gut-level honesty (“I cast out all these lines/ So afraid that I will find/ That I am all alone”) in virtually the same breath. And “In the Night My Hope Lives On” manages the seemingly impossible feat of recounting the old, familiar, stories of the Red Sea, Elisha’s battle and the prodigal son in such a way that most listeners will feel as if they’re hearing them for the very first time.

On the rarest of occasions, Peterson’s lyrics teeter on the verge of becoming overly precious or self-referential. And just as a fair portion of efforts like The Far Country and Behold The Lamb Of God tended to be somewhat musically undistinguished, cuts such as “Fool with a Fancy Guitar” and “Planting Trees” from Stars lack the near-instant memorability that informs his most well-constructed compositions. In Peterson’s defense, the tracks on the new record are never less than impeccably performed. And his aforementioned way with words goes a great distance toward compensating for the occasional musical misstep. Those who’ve heard Peterson’s previous releases and found that they could take them or leave them aren’t likely to be brought into the fold by what they hear on the latest outing. And his 2000 major-label debut, Carried Along, still remains the most ideal jumping-in point for the uninitiated. Taken on its own merit, however, Counting Stars fares quite nicely, indeed – offering newcomers and dyed-in-the-wool devotees alike an impressive array of intriguing, sturdily-crafted pieces from one of Christian pop’s most talented practitioners.

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