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HEATHER WILLIAMS Heather Williams’ story – of abandonment, abuse, and rejection – could have been a heartbreaker. However, her relationship with Jesus has spun the trauma and losses into gold. Last year, her introductory self-titled EP nabbed her a spot on Billboard Magazine’s Best Bets of 2011 list, making her one of only two Christian artists to do so. This Time Around, an upbeat pop-rock collection à la Kelly Clarkson, is offered as a “glimpse into her conversations with God.” I loved the soulful opener, “Beautiful Thing,” for its bouncy Middle Eastern rhythms and Williams’ playful vocal, full of confidence. She sets the album tone right outta the gate, announcing “This is a song for the brokenhearted / Two-time loser kicked out in the cold … Fix me, fix me / I wanna be a beautiful thing.” From there, the album revisits similar hopeful themes, mostly mid-tempo pop-rockers, and Williams never gets quite as edgy again. “Holes” features some interesting time changes and evocative lyrics, and it’s impossible not to appreciate her strong vocals throughout, especially on the prayerful piano ballad “Hallelujah.”
Fans of the wondrous Jill Phillips, and I count myself as queen among them, will rejoice in the arrival of In This Hour, her seventh album, delayed when her home was seriously damaged in last year’s Nashville flooding. If these 10 tracks are any indication, she’s back and better than ever. As always, her songwriting sparkles with intelligence, arrangements polished to a tee, and unmistakable integrity. I love the way opener “Show Up” eases from its orchestral warm-up intro to its smooth guitar-driven groove, and I love the timely message expressed in its lovely, soaring bridge: “No great things have I done/ Only small things with great love/ And love makes the world different.” This power opener alone is worth the price of admission. Phillips is a storyteller extraordinaire, able to beautifully balance a heartfelt delivery (“Find The Way” and especially the lovely “If You Were Here,” written about the loss of her father) over warm, rolling arrangements. Strong piano chords of “I Can See How It Happened” serve well as a contrasting anchor for her lilting vocal. Fans of Sarah McLachan will enjoy Jill Phillips, and her generous vulnerability only ups the ante.
What can be said about Michael W. Smith? He is a Christian music legend who has enjoyed significant mainstream success over the course of his nearly 30-year career. Smith has won countless awards and certifications, plus he’s just released album number 20, if you include his Christmas and worship efforts. If there’s one thing you can count on with Smith, it’s that he continues to experiment with his music. The latest example of this is his second instrumental disc. Titled Glory, the 12-track masterpiece finds Smith partnering with the 65-piece London Symphonica to create some truly impressive music. While there may be no vocals, listeners still receive the illusion of going on an epic journey. The orchestra delivers the beautiful arrangements with an intensity that gives it a gigantic feel. Listeners are transported not only back to landmark movies, but also to modern day box office hits. Perhaps Smith has found his second calling? While “instrumental” may not be the first thing we think of when we hear his name, Michael W. Smith’s Glory is big and impressive. Even if you aren’t normally a fan of his music, seriously consider picking this one up..
Indie band MuteMath has always flirted with going mainstream. Signed with indie label Teleprompt Records and exclusively distributed by Warner Bros. Records, the band has made countless late night television appearances, has landed massive tours such as opening for Matchbox 20 and constantly fills their own shows. Yet it’s hard to find the band being played on pop radio or stocked on retail shelves, leaving them on the fringe. Could the band’s third effort allow them to bridge the chasm? Titled Odd Soul, the album’s title track sets the stage for the next 12. With heavy emphasis on drums and bass, its explosive start-stop rhythm demands your attention. The throwback riff and funk tendencies of the track “Blood Pressure” will linger in your memory long after the album is finished. Meanwhile, “Allies” has a very New Orleans funk as the vocals elevate to an almost falsetto level. While there are certainly a few ballads present, most of Odd Soul’s songs are an upbeat fusion of heavy hitting drums, soaring keyboards, and engaging melodies. MuteMath has done it yet again with a disc that’s worthy of attention. Straddling the line between alternative and pop, Odd Soul is a must-add to anyone’s collection.
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