Collage - The Katinas

The Katinas’ favorite recording is a blend of many influences.

Collage

Artist: The Katinas (www.thekatinas.com)

Label: Destiny

Length: 11 tracks/49:30 minutes

Listening to “L.O.V.E.” and “Collage,” the opening tracks on Collage by The Katinas, you might feel like you had wandered into a club setting. The electronic beats and programming may catch you by surprise. The intent is to keep the music fresh, and this willingness to experiment carries over into the rest of the recording, which must have made this fun for these five brothers from American Samoa. If dance and synthesized sounds are not what you like, don’t give up on this CD. The other tracks have a more familiar sound.

In their 21 years together, the brothers realize that no matter how much they vary the music to stay relevant, the message is most important. That is especially the case on “Home,” which they have performed during altar calls at the “Harvest Crusades” conducted by evangelist Greg Laurie. The chorus is an invitation to every prodigal, “Whoever you are, wherever you’ve been / It don’t matter to Him / This is love / Turn around / Come on home.” Watch them sing it on the Official Music Video.

This strong vertical focus is maintained throughout. “I’ll Wait” is about yielding to God’s timing no matter how long it takes, learning to find peace in being still.

“Jehovah,” a lovely worship-oriented song, includes strong guest vocals from CeCe Winans. TobyMac, Jeremy Camp and B. Reith add their talents and vocals to other songs.

The band puts their own subtle stamp on enjoyable versions of David Crowder’s “How He Loves” and Delirious’ “Majesty.” Given the strength of the compositions and the reverent treatment here, it is easy to enter into a spirit of worship as you listen.

Among the pleasant surprises are two back-to-back feel-good tracks. “Every Single Bit of You,” written with B. Reith, is a sprightly love song. It’s followed by “La’u Pele Ea,” which has a tropical sound and sung, I presume, in the brothers’ native language.

Since loving God and our neighbors summarizes the whole Law, a song like “Love People” that repeats this refrain is a welcome reminder. TobyMac and B. Reith share the songwriting credit with The Katinas.

John Katina, one of the brothers, calls Collage the bands’ favorite recording. It’s easy to understand why with its smooth blend of diverse music influences and strong spiritual focus. 

Love Enough - Laura Kaczor

Personal renewal is a theme on Kaczor’s national debut.

Love Enough

Artist: Laura Kaczor (www.laurakaczor.com)

Label: Universal-Fontana/EMI CMG

Length: 10 songs/40:48 minutes

On Love Enough by Laura Kaczor (kuh-ZURE) it is quickly apparent that her music is easy to like, which is no small thing. I am all for artistry, but unbridled creativity can make for a difficult listen. That is not a problem here. Whether it’s an up-tempo anthem or an introspective ballad, these are well-crafted songs that are pleasing to the ears.

Kaczor co-wrote nine out of the ten tracks, which are animated by an obvious heart of worship. This is not, however, what might be commonly thought of as a praise and worship recording, though it does include that element. It tends more toward the singer-songwriter style. Rather than containing songs for congregational singing, this is an individual extolling God in the face of brokenness.

“Renew My Life (To Worship)” is a good example. It is plea for God to restore, a theme that in various forms weaves its way through much of this recording. A simple but mesmerizing chorus is accented by a male harmony vocal. The soothing sound draws in the listener making it easy to identify with the petition.

This contrasts nicely with the two opening songs, which are full of energy and have monster hooks. Kaczor has a sure voice regardless of style. It may be the most powerful on slower tunes like the title track, where she adds weight to the opening lines: “How do I end up where I don’t want to be? / On the right path but just off a degree / A few bends in the road and before I know it / I’m miles away from you.” I appreciate the emphasis that even when we go astray God seeks us. He remains faithful even when we are not. 

You find a similar idea on “When Grace Calls You Out,” with the mellotron-like (think “Strawberry Fields Forever”) sounds that set the mood. “When grace calls you out into the open / Takes everything that’s broken / And makes it beautiful / Step into the light and see if you don’t find / Healing as the walls come down,” she sings, contrasting emptiness with God’s sufficiency and suggesting that there is no need to hide or pretend with grace.  

“Sacred Bride,” with mid-tempo music and breezy vocals, bears eloquent testimony to the wonder of this relationship: “You call me beloved / Your sacred bride / Though I’ve been unfaithful / And I’ve tried to hide / Your forgiveness is deep / And your mercy is wide / You call me beloved / Your sacred bride.” It is a fitting summary near the end of the CD.

Occasionally, the arrangements and production sound a little dated. This is more evident on the inspirational tracks. It’s less noticeable on the material that moves toward pop/rock. These faster songs have youth-oriented appeal but overall this is more adult-contemporary and inspirational. It’s reminiscent in style and content to Shannon Wexelberg, Sheila Walsh and Annie Herring.

This is a national debut for Kaczor even though it’s her third recording. The first two, one being an EP, were independent releases.

Born and raised in Pennsylvania, Kaczor served for seven years as a worship leader at Jesus Fest. No surprise then that a desire to worship and encourage others is evident. Combined with her emphasis on renewal, she might be a good addition to a Women of Faith conference.

re:creation - Steven Curtis Chapman

God again brings good out of tragedy, and listeners glimpse it here.

re:creation

Artist: Steven Curtis Chapman (www.stevencurtischapman.com)

Label:  Sparrow Records/Chordant Music Group

Length: 14 tracks/55:14 minutes

If Beauty Will Rise (2009) was the dark night of the soul, re:creation (2011) is like the dawn that grows brighter till the full light of day. This is the sound of hope rising: the winter is past; the time for the singing of birds has come.

The tragic loss more than three years ago of the Chapman’s adopted daughter, Maria, put me in touch again with Steven Curtis Chapman and his music. After Heaven in the Real World (1994), I drifted away, but the Chapman’s season of grief caught my attention.

What the enemy may have wanted to use for evil purposes, God has used for good as re:creation is a reinvention of Chapman’s music. It has a welcome roots feel, a solid acoustic base with crisp production that enhances sometimes lighter but creative percussion.

This is not to say that Chapman sounds radically different. The changes are incremental, so that he is not departing from the style that makes “Do Everything” his 46^th number one single. The cartoonish Official Music Video adds to the quirky vibe, but this is vintage Chapman, whose skill as one of Christian music’s most accomplished writers is plainly evident.

We are tempted to wonder if what we do matters at all. Chapman answers that it all matters, as long as we do everything to God’s glory. It gives us God’s perspective on significance.

“Long Way Home” is the first song Chapman wrote with a ukulele. This instrument, which is becoming more popular, adds to the comfort of the song.

Along with the ukulele, a parade of acoustic sounds, including hammer dulcimer, banjo, harp, piano, cello, strings and vibes, make subtle but delightful appearances. It makes me wish that he would go further along these lines.

Chapman does an excellent job of reimagining eight of his greatest songs in an acoustic vein, but as impressive as they are, the five new songs plus the cover of the hymn “Morning Has Broken” may be the best of all. It is partly because they are new, but also because Chapman sounds even more energized on this fresh material. Some, like the aforementioned “Do Everything,” pack more of a punch, which will appeal more to those who are less inclined toward the acoustic.   

Along these lines is “All That’s Left,” which by virtue of its catchy sound and its affirmation of the preeminence of love, could become another number one song. “Meant to Be” reminds me of God’s sovereignty but also the movie classic It’s a Wonderful Life. What would the world be like if we were not here doing the things that God designed for us to do? God put us here to be a unique expression of Him. We can enrich others through our contribution.

The last two songs, which are joined together, are a fitting conclusion. Chapman and son Caleb sing alternate stanzas of the classic “Morning Has Broken.” It’s a new day in the Chapman household. Their night of weeping is receding; the new morning brings joy. The hymn segues into “Sing Hallelujah,” a short benediction that ends the recording on a note of triumph.

What a privilege to reconnect with an invigorated Chapman. God again brings good out of tragedy, and listeners glimpse it here.  

First Leaf EP - Eden's Bridge

Eden’s Bridge opens the book of nature and draws spiritual parallels.

First Leaf EP

Artist: Eden’s Bridge (www.edensbridge.net)

Label: Independent

Length: 5 tracks/30 minutes

Scripture provides the order: first the natural, then the spiritual (1 Cor. 15:46). The apostle Paul makes this point in his discussion of the resurrection of the dead. The natural body, which comes first, is raised a spiritual body.

Similarly, Psalm 19 depicts God’s two books: the book of nature (vv.1-6) and the book of Scripture (vv.7-11). God reveals himself in both, though more specifically in the latter. The psalmist moves from the natural to the spiritual.

On The Winter Sings and First Leaf, Eden’s Bridge looks into the book of nature, focusing on the winter and spring seasons respectively, highlighting spiritual parallels. They provide a welcome sense of discovery as they move from the natural to the spiritual.

Their remarkable insights drawn from God’s two books are expressed in subtle ways both lyrically and musically, putting these releases among the most artistic statements the band has ever made. It builds anticipation for the two forthcoming EPs, covering summer and fall, and a full-length release in 2012.

The music covers a broad spectrum and is often layered, which combined with the thoughtful lyrics provide a depth not as evident on earlier recordings. Don’t expect popular covers or a praise and worship chorus. This is more sophisticated with a variety of sonic and literary textures just waiting to be explored.

Despite the complexity, a song like “Unfreeze” is built around simple chord changes that the band adds and subtracts from, creating ebb and flow. The title track starts with bleak sounds from an electric guitar, which depicts the dying gasps of winter. A magical swirl of sounds then ushers in that first leaf of spring. The music conveys the change from the barrenness of winter to the new life of spring.

These songs contain more contrast than the first EP. “Tipping Point” is built around intricate percussion reminiscent of a time piece. This is broken-up and elongated by sweeping rock riffs that fill the chorus.

There is a buoyancy in the opening “Arise to Life” that sees in spring a metaphor for Christ’s resurrection.

These new releases may not be as accessible for those who like the simplicity of some of the band’s earliest work. Patient listeners, however, may find this more satisfying. These first two EPs hold up well to repeated listens, rewarding on the surface but also containing treasures for those who want something more. It was worth the wait to get the original Eden’s Bridge back, making the best music of their career.

The Winter Sings EP - Eden's Bridge

Eden’s Bridge is back, showing what it means to be white as snow.

The Winter Sings EP

Artist: Eden’s Bridge

Label: Independent

Length: 5 tracks/22:40 minutes

For the first time in seven years Eden’s Bridge is back with their original lineup. After recording New Celtic Worship (2005), a one-off project for Maranatha! Music, the band took a break. To my dismay, it looked like they might not record again.

What joy to learn that The Winter Sings is the first of four EPs, each representing a different season of the year, to be released in 2011. Plus, the band is at work on a brand new studio recording to be released in 2012. To hear Eden’s Bridge tell it, this is the best writing that they have ever done. That’s how it all started, a trio of songwriters in 1993 deciding to take the next step.

They are on sure footing with The Winter Sings. They capture the feel of winter while retaining their familiar sound, a mix of Celtic, pop, rock, worship, and improvisation along with Sarah Lacy Bird’s lovely voice. Some music, like the title track, builds like a steady snowfall before it quietly subsides. On “Northern Dawn” you can almost the feel chill of winter with the lonely opening sounds. 

Some past releases were praise and worship oriented. Here the band continues to grow as artists both lyrically and musically. The spiritual element is here but it’s subtle. On “White” the covering of snow becomes a metaphor for the forgiveness of sins: “My eyes are searching an expanse of floor / But there is no trace of what has gone before.” This is the most buoyant track and my personal favorite.

Those who appreciate poetry will find this rewarding. The writing is consistently beautiful: 

“It is the way of all things / That the sap that lifts / The leaves into the light will see them fly.”

Even when the tone is somber, there is a ray of hope. Three tracks refer to a child: “And the Winter sings a diff’rent song / Of a small child and beginnings.” It’s something that you can miss if not listening carefully. The lyrics are not included in the packaging but can be found at www.edensbridge.net.

“The Herald Angels” is much more obvious. This is the familiar Charles Wesley hymn with a new arrangement. Some people might not like a new melody, but this works for me. It takes something that is overly familiar and makes it new.

This closes with “The Difference.” With just piano and vocals, and stately lyrics and melody, it has the feel of a hymn.

The CD is hand-numbered and packaged in DVD-sized cardboard with original artwork. Three cards show the days for January through March. It’s a collector’s item, but the best reason to have this is the strong return for Eden’s Bridge. 

Friending: Real Relationships in a Virtual World - Lynne M. Baab

Baab gives careful thought to friendship and technology.

Friending: Real Relationships in a Virtual World

Author: Lynne M. Baab (www.lynnebaab.com)

Publisher: IVP Books

Pages: 185

Something like disapproval crept into my heart when an out-of-town family member announced on Facebook that they were done using it as a means of communication. It was not the decision to abandon it that bothered me; someone might do that for legitimate reasons. It was the implication that Facebook is a superficial form of interaction that has little value.

Not being comfortable with phone calls to this person, the Facebook posts provided a means for me to have some contact. I am often more comfortable communicating by email than by phone. One thing that makes Friending by Lynne Baab so praiseworthy is that she encourages readers to recognize and respond appropriately to different communication preferences.

She rises above seeing communication changes in terms of good and bad: “Making blanket critical statements about the technology used to communicate today is pretty easy to do, while discussing ways to reflect love and compassion with various new forms of communication requires more creativity. The latter is urgently needed today” (49).

Throughout her wonderful meditation on the larger theme of friendship, Baab avoids the extremes of outright rejection of new technology and uncritical acceptance. She sees the potential benefits, “These means of communication can do much more than put relationships in a holding pattern until a visit happens. Like letters in years past, they can actually build relationships and nurture intimacy” (48).

As someone who cares deeply about relationships, and is intentional about cultivating them, Baab continually shows through the use of Scripture, personal experience, and interviews with a broad spectrum of people, just how good it can be. In particular, 1 Corinthians 13 and Colossians 3 are like frameworks that she uses to make numerous applications.

This is an excellent resource on relationships, and not just on the human level. It includes our relationship with God and how the faith that comes through him is worked out in our daily interactions. This book is a keeper for any who desire more meaningful connections.

Aside from offering a wealth of wisdom gained through experience and knowledge, Baab often inspires and writes beautifully. In writing about initiative, she observes, “Love carries its own reward. When we act in love, when we take initiative to show kindness and compassion, we are mirroring the character of God as shown to us in Christ Jesus. Every time we do that, we are participating in God’s work of transformation in us. Even if our act of kindness isn’t received very enthusiastically, we will be blessed if we trust that God’s love is shaping us into the people we were created to be” (100).

The book is by the author’s own admission not an exhaustive treatment on the subject. However, she does cover numerous subjects, some that seem quite novel to me. I don’t think I have ever read about rhythm and pacing in relationships. This looks at the frequency of our contacts. It includes knowing when to pull back or end a relationship. In such cases, “Keeping compassion and kindness on the front burner, even when making a decision to step away from a friend, limits engagement in destructive practices like gossip” (149). This is important because friendships sometimes blossom again.

In the latter part of the book, Baab makes liberal use of a study contained in the 1992 book by William K. Rawlins titled Friendship Matters. The study explores contrasting components of a relationship, such as instrumentality and affection, or independence and dependence. For example, “William Rawlins believed that a friendship with a strong component of affection will be stronger than a friendship focused primarily on function (instrumentality)” (139). On the other hand, Baab reminds us of a point made by C. S. Lewis “that shared interests can function as a foundation for friendship” (139). These and other dialectic comparisons make for fascinating exploration.    

Each chapter concludes with helpful questions for reflection, journaling, discussion and action. The appendix includes more of the same, grouped by category, on topics not covered in the book.

It shows what a vast subject this can be and an important one. Relationships, as mirrored in the Trinity, are at the heart of the Christian faith.

On the Altar of Love - Downhere

As wise master builders, Downhere return to the foundation and fill the breaches.

On the Altar of Love

Artist: Downhere (www.downhere.com)

Label: Centricity

Length: 12 tracks/47:13 minutes

“‘If the foundations are destroyed, what can the righteous do?’” (Psalm 11:3 ESV). On the Altar of Love, Downhere goes back to the foundations of the Christian faith.

It starts appropriately with “Only the Beginning,” a song that encourages listeners to “press ahead, forget what’s behind” for God fulfills his promises. The chorus of “Rest” comes from Matthew 11:28: “Come to me, all who labor and are heavy laden, and I will give you rest” (ESV). As Oswald Chambers, author of My Utmost for His Highest, said, “The questions that matter in life are remarkably few, and they are all answered by the words— ‘Come unto me.’ Not ‘do this, or don’t do that’; but—‘Come unto me.’” This truth makes the song special, for the Christian life is a continual “coming to Jesus.” The comfort and hope in these first two songs are found throughout the recording.

Like Nehemiah in the Old Testament, Downhere not only restores the foundation, they build the walls with the wisdom that comes from working out their faith. “Living the Dream” recognizes that often expectations don’t fit reality: “Well this is not what I imagined, but this is real, life in the trenches.” The lyrics are wrapped in a whimsical tune that even includes horns, reminiscent of the Downhere song, “Christmas in our Hearts.”

“Let Me Rediscover You” is a cry to know God, which God desires: “But let him who boasts boast in this, that he understands and knows me, that I am the LORD who practices steadfast love, justice and righteousness in the earth” (Jeremiah 9:24 ESV). 

I appreciate the mature, at-odds-with-the-world perspective of “For the Heartbreak”: “Thank you for the heartbreak / Thank you for the pain / Thank you for sadness on the gloomy days of rain / Thank you that the hard times have a reason and rhyme / Thank you that the healer makes the beauty shine.”

This release also highlights Downhere’s diversity. “Seek,” with its punk rock, early U2 sound, is one of the surprises. It might seem a little out of character, but I like it because it is unique. The title track features a violin, which gives it a country/bluegrass flair. This conveys the rustic and rural feel of the album cover. I wish they had done more along these lines.

The variation continues with “Glory by the Way of Shame,” a gorgeous ballad and one of the best songs. “Holy,” is a worship anthem that references the entire Trinity. Poetic images abound on “For Life,” where the band opens the book of nature to give thanks.

Downhere is working on a building whose architect is God. His people, like living stones, are being built together into a holy dwelling for His presence. As wise master builders, they return to the foundation and fill the breaches.