Foreman has also worked on various solo projects, independently releasing four EPs, titled Fall, Winter, Spring, and Summer. For the project, Foreman teamed with Credential Recordings in a partnership with Switchfoot’s imprint record label, lowercase people records. In October 2008, Foreman released a collection of songs from his seasonal EPs along with two new tracks. The collection is entitled Limbs and Branches. In April 2009, he was GMA Dove Award-nominated for Male Vocalist of the Year.

Source: Wikipedia

The first track on this album is ‘Your Love is Strong’. It is an acoustic version of ‘The Lord’s Prayer’, with some additional verses written for the song. Foreman’s voice is paired with an acoustic guitar and a few other soft, yet intense instruments, but the music really isn’t the focus of this track. The most compelling part is Foreman’s lyrics. This song starts out quietly with a reflection on God’s provision in general. As the instrumentation builds, the lyrics become more personal and powerful. The climax of the song comes near the end when Foreman transitions into the more familiar lyrics to the Lord’s Prayer.

Foreman reveals a more poignant side of himself in ‘The Cure for Pain’. The lush instrumentation underscores the emotion behind the lyrics and turns the song into a meaningful look at running from pain, rather than a bleak look at difficulty. The passion in Foreman’s vocals underscores the deep emotion of this song from the very beginning. There is no driving climax on this track – instead, the steady feel of the song helps to highlight the poetry of the lyrics. This combination of meditative music and thoughtful lyrics made this track one of my favorites on the album.

The opening of ‘Resurrect Me’ is very different from the other cuts on this album. It is less acoustic, and relies on a driving beat. This is the only song on the album that feels more connected to Foreman’s work with his band, Switchfoot – it is similar to their earlier albums. The track starts with a single guitar with light distortion that continues to build throughout the song. Foreman’s trademark vocals are less noticeable here, especially in the verses where rhythm is given more prominence than melody. The song builds to the chorus and backs down each time. This ebb and flow is a nice change but given the feel of the album as a whole, this song feels a little out of place.

The strings and harmonica on ‘Southbound Train’ recreate the sound of a train in the song’s opening. There are sections of this song that are characterized by a banjo and harmonica that seamlessly transform into almost orchestral sections. The lyrics of this song are thought-provoking, but it is ultimately the accompanying music that stayed with me when I turned off my iPod. I loved how this song almost made it seem like Foreman’s voice was simply another instrument. The vocals and instruments weave in and out of each other seamlessly, and that creates a fantastic effect for this song.

‘Broken from the Start’ is one of the new tracks that Foreman wrote for this album. It has a very similar feel to the other material, with thick background vocals and an acoustic feel. Once again, Foreman’s brilliant lyrics shine in this track. It has a deeper sense of sadness than most of the other tracks on this album. A piano is used very effectively, especially in the last half of the song, to pull out some of the minor chords and create a feeling of sadness that isn’t depressing.

‘The House of God, Forever’ sounds like it would fit on a hot summer day in the Deep South. The lyrics draw heavily on the 23^rd Psalm, with an extra dose of the meditative feel that is so characteristic of this album. From the very beginning of this track, it is evident that Foreman is doing something a little different. He manages to use the background vocals to keep the meditative feel, but the melody is catchy and upbeat. Foreman is joined by Sarah Masen on this track.

‘Learning How to Die’ was easily my favorite track on this album. The introduction, with a soft guitar and a bass clarinet, is simply beautiful. It complements the lyrics, describing the struggle to come to terms with the death of a loved one, perfectly. The lyrics are incredibly honest and sound like something that could have come out of Foreman’s journal. This track was originally recorded for the Winter album, and completely captures the essence of that season.

The final track is also a new track for Foreman. The first time I heard this song, I thought that it was a poor choice to include it on this album. It didn’t seem to be of the same caliber as the other tracks. But the more I listened to it, the more I was able to appreciate the subtleties of this track. Foreman’s voice has a dream-like quality that perfectly complements the lyrics that are part meditation on the afterlife, part paraphrase of Isaiah 25. The instrumentation is sparse in this track; it is just Foreman and his guitar, but that adds to the simplistic beauty that goes so well with these lyrics.

If your only experience with Jon Foreman is through his work with Switchfoot, then this album may surprise you. It has a very different feel from the work he has done with the band. This music is the kind that wears very well; there are new things to discover each time you listen to it and the lyrics have a depth that is uncommon to find on every single track of an album. If you already have Foreman’s four season albums, you probably don’t need to purchase this album, although I recommend purchasing the two new tracks. However, if you have not experienced Jon Foreman’s delightfully poetic lyrics, eclectic music, and thoughtful messages, Limbs and Branches is a great place to start.

Source: Wikipedia

Here’s what I like about Children 18:3. THEY STAND OUT, they’re different, own their style, thrive on diversity, and the best part…they’re siblings. It is hard to break up a band of siblings.  Seth, the drummer, tells me that though they seem to go through the same struggles as other bands, they “get along pretty dang well.” When asked about their name, Seth said that when starting the band ten years ago, all the bands they liked had numbers in them.

Vocals are a definite strength for these guys. David offers a unique vocal style behind the lead mic. His sister, Lee Marie, brings a healthy balance to the vocals, expanding the band’s diversity.

All this goes to say, Children 18:3 gives punk a fresh new look.

Though this album is about 2 years old, the music is as current as ever.  They have a whopping 14 unique songs on this record, so I’ll highlight a few of my favorites:

‘All My Balloons’ kicks off the record with high energy and awakes the listener to a good understanding of who these guys are. The lyrics cleverly depict what they are trying to portray without coming right out and saying it. You have to do the work of digging for a deeper meaning.

‘You Know We’re All So Fond of Dying’ echoes the cries of the unborn and really gets to the heart of the matter of abortion. Children 18:3 is not afraid to get a little controversial here. “It’s an acceptable practice / And I am loathe to say / Snuffed out the wicks from a sea of candles / Maybe Jesus could take it away.”

‘The City’ takes a turn with more of an upbeat-ska style. The song definitely has a message to the church about being salt and light and offering sound guidance. “Turn on the light switch and everything’s bright / It doesn’t even take a moment to erase the night / Well, how would it be if I knew this was true / If I opened my eyes and tried to help you.” And… “What good is salt if it stops being salty? / I tried to run but my cover was blown / What good is a map if it gives no direction? / And what good is home if it isn’t your home?”

‘Homemade Valentine’ is probably the most well-known song of the album. The lyrics clearly captivate some of the questions and emotions the disciples probably were experiencing between Jesus’ death and resurrection. The loss of hope is creatively portrayed in the chorus with the unforgettable lyrics, “We pasted all our hopes on him / Like the paper hearts on a homemade valentine.”

‘Mock The Music’ is a fun song bringing to light some of the stereotypes that Children 18:3 has encountered when it comes to young youth culture and loud music. It’s a good, healthy response to these stereotypes in my opinion.

‘Final’ begs to question if you would take Christ at his word when he says, “to find your life, you must lose it.” Lyrics: “Stand by me, would you love? / …Until victory is won / But you must choose / To win you lose.” They even throw in a little something about Stephen, Christianity’s first known martyr.

‘Who They Are’ (iTunes only) presents a convicting message to love as Jesus loved, with no strings attached, unconditionally.  One often wrestles with God when confronted with situations where we know that we should love, but find it uncomfortable to do so. The chorus is from Jesus’ perspective: “Do you know who they are in my eyes?”

Seth shares with me that the things that got them to where they are today are hard work, daily practice, excitement for every show without expecting too much, and always taking the low road by being humble and promoting other bands.

Source: Wikipedia

Waggoner is distinct in her shifting melodies, key changes, and arranged instrumentation.  Heal for the Honey, a delicate blend of piano, electric sounds and an impressive string section.  The opening track, ‘Lung Speed, Lung Sped,’ starts with a light hearted piano melody leading into a catchy  “ooo ooo” part, which, along with the strings arrangement, makes the song stand out as one of her best.  In the song, her voice is doubled to create a whispery, mystical sound reminiscent of a fairy tale—think Robin Hood or Red Riding Hood.  It would be safe to say fairy tales influences Brooke Waggoner:  she has a b-side called ‘Red-Robin Hood’ about the hypothetical marriage of the two classic characters.  Whimsicality is a strong suit for Waggoner.  The fast paced ‘Daylover’ has whistling, “ahhs,” “ooos” and “doos” that happen consecutively before she counts to eight.  Then: “Beat the wall, don’t beat the gate.  Wait until it’s hinged.  Beg to be forgived.”

‘Live for the Sounds’ wins the contest for best string arrangement.  The sound of the violins and bass is as deep and beautiful as what The Beatles did in ‘Strawberry Fields Forever,’ or ‘Eleanor Rigby.’  The same goes for ‘Beaut,’ another strong string arrangement.

‘Colorbloods’ has the best melody and lyrics of the album. The highlight of the song comes right before the second chorus: “Oh you wish you would not fear.  Colorbloods, that’s what we were.  Sparkling ones, that’s what we were.” When the drums hit its almost like when the drums on Radiohead’s ‘Pyramid Song’ off Amnesiac.  What Thom Yorke does is use the drums to create a surreal climax/on-going feeling, like it’s the end of the world, but you want it to keep going—a brilliant touch to ‘Colorbloods.’ It’s at the height of the emotional potential that the song could possibly reach.  And then the song fades into just her falsetto and soft piano voice.

‘Come Love, See My Hands,’ another gem off the album, begins with an eerie clash of symbols and banging piano that leave behind her reverbed voice and piano that see each other through to the end.   There’s plenty of space in the song, which adds to the eeriness of the whole thing.  ‘Come Love, See My Hands’ is part of the reason this album is not just playful—it’s also hauntingly beautiful.

Heal for the Honey is a good listen for those of us who crave brilliantly arranged pop music.  We get tired of the same thing playing on the radio.  Yes, it is another girl who writes pop songs for the piano, but this girl isn’t another cliché.  Brooke Waggoner switches it up track by track.  Keep an eye out for her B-Side series as well as her summer tour dates on her website.  I’m confident she won’t disappoint.

Sounds similar to: Fionna Apple, Jesca Hoop, Rachel Yamagata

Source: MySpace

Urban Rescue has chosen to not settle.  On their self-titled EP they present their audience with songs that accomplish worship, but what separates them from the others is that they pack their songs with edge, originality, and muse.  Their songs wrestle with unique forms of delivery from graceful vocal harmonies, panning guitar riffs, melodic ambiance, and lyrics offered to their King.

‘Simply Amazed’ opens the EP.  There are times in this song that you wonder if Urban Rescue is really different from the other worship bands, but at the three-minute mark we find the band utilizing vocal harmonies, ringing bells, a thumping kick drum, and a wonderful chord change that leads right back into a thunderous conclusion.  ‘Symphony’ echoes the band’s purpose which is to “pour out the symphony of praise”.  ‘Symphony’ is a tightly structured song and once again you wonder if Urban Rescue is different from the others – but once again at about the three-minute-mark we receive a building wave of singing in unison that pushes the EP towards that unsettled ground where most worship bands won’t go.

With ‘This is the Day’, Urban Rescue takes a classic tag-line and turns it into something completely new.  They border the lyrics with their instrumentation in a manner that lets the joy of the song bloom, and without fail, at the three-minute mark Urban Rescue gives us another gem, a soft break which jumps right back into an uprising conclusion, showered with bells, guitars, and piano.  It’s as this song ends that listeners need to prepare themselves for one of the best worship/rock songs that this reviewer has ever heard.

‘Down Upon My Knees’ opens with a crackling audible wind that is quickly joined with the down-strumming acoustic guitar, all of which is protected with the little tweaks and dings of the bells.  We get our first taste of Urban Rescue’s inner turmoil that comes with every walk of faith, but we also get resolution.  From singing about the ground breaking all around him, confusion waving over him, and from the longest night, Urban Rescue still asks the question we all wonder, “Can you save me?”  Urban Rescue quickly answers their own question, “For I know you are here with me”.  The chorus of this track shouts out to the Lord for a hand of salvation and we are also presented with Urban Rescue’s first guitar solo. Of course it’s at the three-minute mark, but it isn’t exactly what you would expect to find with a worship band.  It is splendid – but brief.

This song ends in an answer that is completed in the next track, ‘My Hands’.  Urban Rescue flirts with electronic beats and other instrument manipulation on this track.  ‘My Hands’ is a good song, but it is a bit repetitive lyrically, so it’s best to focus on the organized instrumentation and allow the vocals to come in second place.

Urban Rescue concludes their EP with ‘On This Beautiful Night’.  As a listener you can expect to find a fitting conclusion to an adventurous EP.  The band chooses to leave their listeners with an ambient, pulsating tune that calms the ears and soothes the soul.

Urban Rescue has achieved success where many other worship bands have failed.  They have created a mix of sounds that takes worship straight into the arms of the hungry void that has been created by so many years of complacency within the rock/worship world.  They step into this void with confidence, and it is the hope of this reviewer that other bands will follow suit.

Still under the name Aushua, the band released an EP entitled Limbo. As one of the strongest EPs to be released of late across the country, the brothers Newyear (Lee, Phil, & Eric) along with frontman Nathan Gammill have created riffs and composition that are, by far, undeniably nowhere near mediocrity.

Limbo opens with a dynamic of ambiences with the track ‘Pedestrian’. Heaps of rock influences from bands across the pond compliment the song with flourishing ballads to set the groundwork of the album.

Pleasantly tucked away in tremolo with the oohs and the aahs is the effervescent ‘Tuck (How It Feels Away)’. The track asks a series of questions pertaining to interactions and complexities. The bridge of the song offers a brilliantly layered stack of momma’s pancakes. Sometimes one wishes music were edible.

‘What’s It Worth’ sounds like a classic Southern California harmony, nevertheless echoing a modern Coldplay-esque pop/rock sound in the refrain. The song asks a simple question about beliefs, love, and life. What’s it worth to you?

Batting cleanup is the mellow and spiritual ‘God In Search of Man’. The lyrics certainly hit a homerun. This song discusses the topic of how society can effortlessly live a life of free will and often fall short of what life is really about.

‘Limbo’ serves as the title track to the EP as it delivers a piano-driven Billy Joel-esque vibe. However, it immediately becomes one of its own with drum loops and programming features. The lyrics continue with a discussion of society’s intentions and whether there’s any justification for these intentions. Just a snippet of lyrics as the song closes: “So spend with disregard/ Put it all on a credit card / Cause we’re all in limbo anyway.”

‘Hiding Place’ completes the EP with a musical impression that is nonchalant. The lyrics, on the other hand, are more forthright. They speak of an ongoing theme in our society, and how some people choose to wear a mask as a hideout, while at the same time choosing to keep the truth even from themselves.

Going forward, the band formerly known as Aushua plans to make a name for themselves as Pacific Hurt. The solid release of Limbo and its sonically sound mixes will leave the listener astounded at the composition of this record. In a matter of time, Pacific Hurt is slated to release their debut long-form record and will likely go on another national tour. Get your popcorn ready, America!