Top Two Music Picks from 2016


The two albums that have proven to be the cream of the crop of new music that I’ve listened to in 2016 surely represent differences in the perspectives and personalities of their creators, but, they also have a good deal in common.

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Original review of Playing Games With The Shadow

Playing Games With The Shadow by Kevin Max is a mysterious brew of self-reflection, espionage, jaded experience, angst, and hope filtered through the post-punk/new wave musical filter that is the mind and iconic voice of Kevin Max. One-third of DC Talk and former frontman for Audio Adrenaline, but, never one to sit still and grow stagnant, Max seems hellbent on toeing the line between what is true, what has never been done before, and what he can get away with on Playing Games With The Shadow. The assemblage of tunes featured on this album provide an intriguing experience for listeners who find themselves on the fray, surveying the heights, mysteries, and depths of their own life experiences. Tracks that showcase a heavier rock influence such as “Election,” and “Music is Magic!” are highlights for me, but, the significant new wave tilt of “William Blake” is hard not to love.

The bridge that I stand upon while writing this is the common mile marker that both Max and Steve Hindalong share with regard to their musical journeys. Max has established a developed a solo career by repeatedly stepping out of what is comfortable in favor of the undefined and unknown. Steve Hindalong, founding member and songwriter for the legendary alternative band The Choir, like Max, has sustained a musical career by routinely surveying the edges of what is possible and stepping over them on his own accord.

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Original review of The Warbler

Hindalong’s second solo release, The Warbleris a sincere, well-articulated, and vulnerable conversation that surveys the artist’s experiences, temptations, blessings, and resolutions. From the love and compassion that we feel for those we love as they struggle with life’s biggest trials (“Shellie’s Song” and “Cloudburst”), to the tensions aroused by temptation and addiction that so many battle with on a daily basis (“Into the Drink” and “Outta My Mind”), Hindalong exhibits his skill as a wordsmith, articulately dissecting the emotions of both himself and the listener, making sense of them in the form of songs that range in tone and tempo from nuanced and delicate folk tunes to unbridled rock vents complete with distorted feedback and tachometer-breaking jams. A personal favorite, for me, is “O Jimmy A,” a nod of tribute to artist/musician Jimmy Abegg. Like some of the other gentler songs on the album, the lyrics dance in combination with the song’s arrangement (which happens to feature the voice other-worldly voice of Kevin Max in the background) to create an almost ethereal sound – a real treat for the listener.

Both Max and Hindalong  masterfully articulated their experiences stepping through the dark shadows that exist in spite of, and because of, the existence of the light, on these albums, by assembling the right mix of studio musicians and production to compliment their own songwriting and performance sensibilities.

Anyone willing to invest some of their own time and pocket change in these latest reflections upon the life/musical journeys of Max and Hindalong, as featured on Playing Games With The Shadow and The Warblerwill likely be more than gratified with the comfort of commonality between the artists’ and their own stories.

Purchase PLAYING GAMES WITH THE SHADOW b y Kevin Max at Amazon, on iTunes, or at Kevinmax.com

Purchase THE WARBLER by Steve Hindalong at Amazon, on iTunes, or at TheChoir.net

THE WARBLER by Steve Hindalong – Music Review

b31301fbedf233b5f678f66ba57ded8bI first became familiar with Steve Hindalong as the drummer for THE LOST DOGS and THE CHOIR, two critically acclaimed bands with long track records of quality music leaning decidedly toward the freedom of classification that can be found under the umbrella of ‘alternative music.’ Considering the fact that my familiarity with the catalogs of THE LOST DOGS and THE CHOIR is relatively thin and the fact that THE WARBLER is Hindalong’s first solo album since 1998’s SKINNY, I really had no idea what to expect. But, I’ve been more than pleasantly surprised by the album over the last month or so.  My first good listen came while driving down the interstate as the sun was going down during the first leg of a long family road trip. I simply couldn’t have picked a better album in that context. Hindalong’s lyrics delightfully dance between celebrations of life, quiet introspection, and ruminations on relationships, faith, and personal demons. THE WARBLER is characterized by Hindalong’s skillful phrasing and honest vocal delivery which intertwine comfortably on a bed of lush, and skillfully arranged music. Artists like Lynn Arthur Nichols, Kevin Max, Dwayne Larring and Jimmy Abegg contribute to the project in a manner that truly enlightens the whole without simply being present in the mix for the sake of a name-dropping roll call. The song “Jimmy A,” released prior to the album as a whole, was the song that interested me in this project and it exhibits many of the best qualities of the album as a whole, but, there isn’t a single dud on this album. I could list each song and elaborate upon its merits, but the time that you spend reading my commentary which, surely, would fail to adequately articulate each track’s glory, would just delay the time between you reading this review and purchasing THE WARBLER for yourself. Because time spent holding beauty at bay in anyone’s life is a shame, I’ll end this review here so that you can do yourself the favor of acquiring THE WARBLER for yourself. You’re welcome.

Purchase THE WARBLER here:

iTunes

Amazon

The Choir Store

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“Muzick is Magic!” Takes The Shadow By The Horns

 

MuzickThe unfolding of the newest project from the enigmatic dcTalk singer, former-Audio Adrenaline frontman, and always independent (in one way or another) artist Kevin Max, PLAYING GAMES WITH THE SHADOW, has been an absolute pleasure to behold (read my brief review here). With eight tracks currently available through Max’s Pledge crowd-funding site and iTunes, and the possibility of a few tracks yet to see the light of day on an eventual extended version of the album, the album feels more like a living, breathing entity than a static collection of songs.

While I’ve certainly got other favorites, one song, in particular, definitely adds “…and kicking!” to the “…a living, breathing…” descriptor that I just mentioned for the newest Kevin Max record: “Muzick is Magic!”

“Muzick is Magic!” reminds me of the intensity and dynamic that Kevin Max achieved on his 2004 collaboration with Erick Cole, “21st Century Darlings,” but, resonates loudly on its own terms, too. The thundering drums of The Choir‘s Steve Hindalong, and the guitars and bass of Lynn Nichols and Dwayne Larring riff an appropriately throbbing, rock and roll canvas for Max to scribble his punk-apocolyptic lyrical interpretations of the state of the world upon.

Whether Max is offering a prophetic critique of American culture’s desensitization to the stark realities that exist in the rest of the world or just scratching an itch to lay down a scorcher decrying the industrialization of art, I don’t claim to know. But, the song rocks at a gut-level that I can’t help, but, to love. While other songs on PLAYING GAMES WITH THE SHADOW succeed on their own terms, on “Muzick is Magic!,” Max masterfully swung his magic wand around, channeling an angst and passion similar to that of “White Light, White Heat, White Trash”-era Social Distortion and “Accelerate”-era R.E.M. — punk passion intermingled with the wisdom of experience…and I’m thankful for his wisdom.

That said, the lesson we can glean “Muzick is Magic!,” seems to be this: COLOR LOUDLY! – OUTSIDE THE LINES!


Check out PLAYING GAMES WITH THE SHADOW on Pledge Music and keep up with all things Kevin Max at www.kevinmax.com, on Facebook, and Twitter.

Meanders Music Review: PLAYING GAMES WITH THE SHADOW by Kevin Max

cibmdqmukaagjqlPLAYING GAMES WITH THE SHADOW, the latest in a prolific stream of output from Kevin Max, may very well be his most brilliant work yet. The fact that Max describes the new project as his first real album due to an intentional exclusion of outside influence in the songwriting process has me rubbing my hands together in anxious anticipation of what could yet be if he continues on this path.

Last year’s  BROKEN TEMPLES was a fantastic album and THE IMPOSTER is a long-time standard, but, on PLAYING GAMES WITH THE SHADOW Max freed himself to explore the musical and lyrical dynamics that exist between dessert valleys, Sunset strips, midnight shadows, and pre-dawn hope in a manner both deeper and more transparent than he’s written in on prior albums. “The Skin Of Our Teeth,” “Election,” and “Girl With The Tiger Eyes” stand as testaments to the fact that the thick skin Max has carried over the years as a member of dcTalk and Audio Adrenaline has been pulled back.

The lyrical victory on PLAYING GAMES WITH THE SHADOW, though, is clearly rivaled by the stellar roster of players and studio hands that Max arranged to work on the album from John Mark Painter (Fleming & John; Steve Taylor & The Perfect Foil) and Dwayne Larring (Audio Adrenaline; Sonic Flood) to Steve Hindalong (The Choir) and others, musical alchemy runs rabid on songs such as “Muzick is Magic!,” “Phantoms of Terra,“”Panic Button,” and “William Blake.

Stylistically, the album is a measured, yet, raucous potpourri of sound. PLAYING GAMES WITH THE SHADOW is the embodiment of new wave, punk, and industrial accents masterfully woven together into a flourescent musical tapestry born out of the mind of Kevin Max.

Consider this written account of the impression that PLAYING GAMES WITH THE SHADOW has made on me a raised-glass toast to the prospect that there’s a lot more where that came from.

Get PLAYING GAMES WITH THE SHADOW through the Pledge Music Campaign

Preview PLAYING GAMES WITH THE SHADOW streaming now at RELEVANT MAGAZINE

Purchase on iTunes

 

 

Meanders Music Review: BROKEN TEMPLES (Deluxe Edition) by Kevin Max + “Love Feels Like” (Feat. dcTalk) from TobyMac’s THIS IS NOT A TEST

BROKEN TEMPLES (deluxe edition) now available through iTunes

BROKEN TEMPLES by Kevin Max was released earlier this year and what follows is my original review of the album as it was released then, but, updated with commentary on the additional tracks available on the Deluxe Edition of BROKEN TEMPLES that is now available through iTunes. Also included in this updated post is the lyric video “Light Me Up” from BROKEN TEMPLES and the lyric video for for the new song “Love Feels Like (featuring dcTalk)” which features Kevin Max, along with Michael Tait, on TobyMac’s just-released album THIS IS NOT A TEST.

Broken Temples, the latest solo album from Kevin Max, the iconic voice of dc Talk and “Kings & Queens”-era Audio Adrenaline, is an album that celebrates space and the perspective it can bring, both figuratively and literally. Lyrics throughout the album paint a bird’s eye view of literal and figurative open highway landscapes, deep valleys amidst jagged peaks, and moments of still, quiet solitude contrasted by the boundless measure of the heavens and the infinite God that moves in, around, and through them.

The themes explored lyrically on this album are a marked departure from Max’s last solo effort, 2010’s Cotes d’Armor (True Rebels). Instead of what, by comparison, were darker, cryptic lyrics juxtaposed with ambient electronica, Broken Temples offers a direct line to hope, but, without the candy coating of Christian clichés so overused on contemporary Christian radio. Laid out on a framework of new wave with occasional nods to the influence of U2, Johnny Cash, and the Beatles, the album is a clear product of Max’s musical influences. That fact, in and of itself, is respectable, since so many artists make so many concessions in their music just for the sake of getting on the radio.
It is Max’s ability to articulately explore and celebrate truths of God and the importance of grace as a dynamic in the lives of believers that I appreciate as much as, if not even more than, his amazing voice. Kevin Max is a poet and his expertise as a craftsman of words is on full display in the songs of Broken Temples. It takes a great lyricist to be able to use words within reach of the common lexicon, and to arrange and partner each of them with just the right musical moments in a song, in order to produce an emotional and personally relevant response within the listener that is both memorable and meaningful, and to do so to a degree that is greater than the sum of its parts. It is even more impressive when he can do so while simultaneously leaving enough room in the interpretation of the lyrics to allow almost anyone to connect their own bruised hearts with the experiences of a man who has stated that the lyrics to the songs of Broken Temples (“Just As I Am,” in particular) are some of the most personal that he’s ever written.
Lyrical gems alluding to the broken nature of humanity, and the relief and purpose that we have the chance to grab hold of through God’s grace, are threaded throughout the album and employed in a manner that communicates hope for the broken without ever conceding to the banality of the latest Christian music industry platitudes. I’m certain that I could tell my own redemptive life story by simply excerpting lines from the lyrics of songs like “Good King’s Highway,” “Light Me Up,” “Just As I Am,” and “That Was Then And This Is Now,” – all songs that reflect back on life-lived, for better or worse, and acknowledging the wonder of grace and eternal hope in the face of it all. But, it is the stripped down arrangement of “That Was Then And This Is Now,” certainly one of my favorite tracks from the album, that grabs me immediately within the first few seconds of the song and engages me on a deeper level, as Max sings about finding assurance and peace in the growing space between the mistakes of our past and the present hope of our future, through the duration of the song.
“Good King’s Highway” is a solid opening track that rings with optimism and celebrates providence in the midst of the journey of life from the very first note going forward while “Light Me Up,” a decidedly and unapologetically-pop song, alludes to God’s ability and desire to use us, in our broken state, for his lasting purpose and, in doing so, provide a more abundant sense of life and meaning than we ever could’ve imagined before. The slick pop sound, set against the substance and poetic depth of the lyrics in “Light Me Up,” “Just As I Am,” and “When We Were Young,” are another characteristic stroke of Max genius.
Purchase and Download the music of Kevin Max on iTunes

Purchase and Download the music of Kevin Max on iTunes

As the 80’s new wave-inspired tracks “Just As I Am” and “Clear” unfold, the listener’s attention is focused inward as Max reflects upon the one-to-one, personal dynamic that exists between God and believer when we choose to accept His hope personally. Max ably meets the challenge of taking a sound so characteristic of the 80’s and making it sound completely relevant decades later.

Like “Good King’s Highway,” “White Horse” has an expansive sound, but, also has a spirit that steers closer to praise music than Max typically ventures. It does so, however, in a truly Max fashion, as he has managed to present a song that honors the truth of God without leaning on standard Christian music industry cut-and-paste lyrics, thus creating a song that is accessible not just to common believers, but, also to a wider audience that appreciates texture and artistry in music.
Broken Temples is rounded out by two Derek Web remixes (of “Just As I Am” and “Clear”) and “Infinite,” a celebratory chorus in the vein of “Give Peace A Chance” by John Lennon and “All You Need Is Love” by the Beatles.  While the argument against including remixes in an album does have merit (who wouldn’t want two more original songs instead?), I enjoy Webb’s alternate take on the two remix songs (“Another Big Mistake” and “Going Clear”) further the continuity of tone established in the first eight tracks of the album, while, also adding texture to the album as a whole. “Infinite” (featuring a well-placed appearance by Rachel Lampa) provides a memorable exclamation point to the album by celebrating the fact that God is so much more than any of us can even comprehend with our finite minds. There is more going on than we can see or even hope to understand, but, God is worthy of our faith.
As a whole BROKEN TEMPLES is simply amazing. Only time will tell whether the album will gain enough of the exposure it is worthy of in order to propel Max’s presence and notoriety in the Christian music industry onward and upward to the level of respect that he deserves as a solo artist. Regardless of whether it does or it doesn’t, Broken Temples is an album that stands firmly on it’s own accord. It takes guts to trailblaze through the wilderness that Kevin Max has and the grace of God to sound this good on the other side.
DELUXE EDITION REVIEW UPDATE: With the July 2015 release of the Deluxe Edition of BROKEN TEMPLES, listeners are treated to an additional five tracks not included on the original album. Two of those, “Lay Down Your Weapons” and “Freak Flag,” were available to supporters of the BROKEN TEMPLES Pledge Campaign when BROKEN TEMPLES released in March, but, the standard version available elsewhere didn’t include them. The Deluxe Edition of BROKEN TEMPLES also includes “Memoria,” “Desperate Heart,” and a demo version of “That Was Then This Is Now.”
 
“Lay Your Weapons Down,” a bluesy, soul guitar track, and “Freak Flag,” a tongue-in-check nod to 90’s Christian rock in the vain of classic Audio Adrenaline and dcTalk, represent a tone not characteristic of the album as a whole, but, certainly warrant their own inclusion as bonus tracks. “Memoria” is my favorite of the additional tracks. It carries on a very Beatle-esque quality that is hinted at on “Infinite,” and one can’t help, but, to sing along after just a listen or two. “Desperate Heart,” on the other hand, fits extremely well into the pop-new wave feel of earlier album tracks such as “Just As I Am,” “Clear,” and “That Was Then This Is Now,” with synthesizer, bass line, drum machine, and vocal textures that would make any 80’s music fan swoon. The demo version of “That Was Then This Is Now,” is very closely related to the slightly more produced version that ended up on the standard release of BROKEN TEMPLES. They are so similar, in fact, that I’m tempted to ask why it was included. But, altogether, the five additional songs gave BROKEN TEMPLES the balance it needed to tip my assessment of this album from 4.5 out of 5 to a full 5 out of 5.
 
There is a fair amount of space for the listener to soak in and reflect upon the lyrics, as presented by Max on BROKEN TEMPLES, in order to make them their own, while the arrangements and production of the album ensure that the songs will only gain traction with repeated listens and that the album, as a whole, will age well and, perhaps even, better than other albums released by his contemporaries in the contemporary Christian music industry. Well done Mr. Max.
 
Meanders Music Review on a scale of 1-5 Stars: 4.5 (BROKEN TEMPLES)/5.0 (BROKEN TEMPLES – DELUXE EDITION)
“Light Me Up” by Kevin Max from BROKEN TEMPLES
Knee-jerk Review: “Love Feels Like (featuring dcTalk)” from TobyMac’s THIS IS NOT A TEST
There has been a good deal of fanfare surrounding the release of Kevin Max’s fellow dcTalk-alum TobyMac’s new album THIS IS NOT A TEST, and with good reason. But, the track that I found most interesting was “Love Feels Like” which features a mini-reunion of dcTalk by including Michael Tait (Tait Band/Newsboys) and Kevin Max (Audio Adrenaline/solo) along with Toby McKeehan. Simply put, it’s a great track. There is a magic that happens when their voices come together that is captured here and they picked the right kind of song to do it on, too. It’s an in-your-face, powerful song that carry’s weight in terms of the sound and the substance of the lyrics. One can only hope that there is more of this on the way.

Music Review: BROKEN TEMPLES (Deluxe Edition) by Kevin Max

BROKEN TEMPLES (deluxe edition) now available through iTunes

BROKEN TEMPLES by Kevin Max was released earlier this year and what follows is my original review of the album as it was released then, but, updated with commentary on the additional tracks available on the Deluxe Edition of BROKEN TEMPLES that is now available through iTunes. Also included in this updated post is the lyric video “Light Me Up” from BROKEN TEMPLES and the lyric video for for the new song “Love Feels Like (featuring dcTalk)” which features Kevin Max, along with Michael Tait, on TobyMac’s just-released album THIS IS NOT A TEST.

Broken Temples, the latest solo album from Kevin Max, the iconic voice of dc Talk and “Kings & Queens”-era Audio Adrenaline, is an album that celebrates space and the perspective it can bring, both figuratively and literally. Lyrics throughout the album paint a bird’s eye view of literal and figurative open highway landscapes, deep valleys amidst jagged peaks, and moments of still, quiet solitude contrasted by the boundless measure of the heavens and the infinite God that moves in, around, and through them.

The themes explored lyrically on this album are a marked departure from Max’s last solo effort, 2010’s Cotes d’Armor (True Rebels). Instead of what, by comparison, were darker, cryptic lyrics juxtaposed with ambient electronica, Broken Temples offers a direct line to hope, but, without the candy coating of Christian clichés so overused on contemporary Christian radio. Laid out on a framework of new wave with occasional nods to the influence of U2, Johnny Cash, and the Beatles, the album is a clear product of Max’s musical influences. That fact, in and of itself, is respectable, since so many artists make so many concessions in their music just for the sake of getting on the radio.
It is Max’s ability to articulately explore and celebrate truths of God and the importance of grace as a dynamic in the lives of believers that I appreciate as much as, if not even more than, his amazing voice. Kevin Max is a poet and his expertise as a craftsman of words is on full display in the songs of Broken Temples. It takes a great lyricist to be able to use words within reach of the common lexicon, and to arrange and partner each of them with just the right musical moments in a song, in order to produce an emotional and personally relevant response within the listener that is both memorable and meaningful, and to do so to a degree that is greater than the sum of its parts. It is even more impressive when he can do so while simultaneously leaving enough room in the interpretation of the lyrics to allow almost anyone to connect their own bruised hearts with the experiences of a man who has stated that the lyrics to the songs of Broken Temples (“Just As I Am,” in particular) are some of the most personal that he’s ever written.
Lyrical gems alluding to the broken nature of humanity, and the relief and purpose that we have the chance to grab hold of through God’s grace, are threaded throughout the album and employed in a manner that communicates hope for the broken without ever conceding to the banality of the latest Christian music industry platitudes. I’m certain that I could tell my own redemptive life story by simply excerpting lines from the lyrics of songs like “Good King’s Highway,” “Light Me Up,” “Just As I Am,” and “That Was Then And This Is Now,” – all songs that reflect back on life-lived, for better or worse, and acknowledging the wonder of grace and eternal hope in the face of it all. But, it is the stripped down arrangement of “That Was Then And This Is Now,” certainly one of my favorite tracks from the album, that grabs me immediately within the first few seconds of the song and engages me on a deeper level, as Max sings about finding assurance and peace in the growing space between the mistakes of our past and the present hope of our future, through the duration of the song.
“Good King’s Highway” is a solid opening track that rings with optimism and celebrates providence in the midst of the journey of life from the very first note going forward while “Light Me Up,” a decidedly and unapologetically-pop song, alludes to God’s ability and desire to use us, in our broken state, for his lasting purpose and, in doing so, provide a more abundant sense of life and meaning than we ever could’ve imagined before. The slick pop sound, set against the substance and poetic depth of the lyrics in “Light Me Up,” “Just As I Am,” and “When We Were Young,” are another characteristic stroke of Max genius.
Purchase and Download the music of Kevin Max on iTunes

Purchase and Download the music of Kevin Max on iTunes

As the 80’s new wave-inspired tracks “Just As I Am” and “Clear” unfold, the listener’s attention is focused inward as Max reflects upon the one-to-one, personal dynamic that exists between God and believer when we choose to accept His hope personally. Max ably meets the challenge of taking a sound so characteristic of the 80’s and making it sound completely relevant decades later.

Like “Good King’s Highway,” “White Horse” has an expansive sound, but, also has a spirit that steers closer to praise music than Max typically ventures. It does so, however, in a truly Max fashion, as he has managed to present a song that honors the truth of God without leaning on standard Christian music industry cut-and-paste lyrics, thus creating a song that is accessible not just to common believers, but, also to a wider audience that appreciates texture and artistry in music.
Broken Temples is rounded out by two Derek Web remixes (of “Just As I Am” and “Clear”) and “Infinite,” a celebratory chorus in the vein of “Give Peace A Chance” by John Lennon and “All You Need Is Love” by the Beatles. While the argument against including remixes in an album does have merit (who wouldn’t want two more original songs instead?), I enjoy Webb’s alternate take on the two remix songs (“Another Big Mistake” and “Going Clear”) further the continuity of tone established in the first eight tracks of the album, while, also adding texture to the album as a whole. “Infinite” (featuring a well-placed appearance by Rachel Lampa) provides a memorable exclamation point to the album by celebrating the fact that God is so much more than any of us can even comprehend with our finite minds. There is more going on than we can see or even hope to understand, but, God is worthy of our faith.
As a whole BROKEN TEMPLES is simply amazing. Only time will tell whether the album will gain enough of the exposure it is worthy of in order to propel Max’s presence and notoriety in the Christian music industry onward and upward to the level of respect that he deserves as a solo artist. Regardless of whether it does or it doesn’t, Broken Temples is an album that stands firmly on it’s own accord. It takes guts to trailblaze through the wilderness that Kevin Max has and the grace of God to sound this good on the other side.
DELUXE EDITION REVIEW UPDATE: With the July 2015 release of the Deluxe Edition of BROKEN TEMPLES, listeners are treated to an additional five tracks not included on the original album. Two of those, “Lay Down Your Weapons” and “Freak Flag,” were available to supporters of the BROKEN TEMPLES Pledge Campaign when BROKEN TEMPLES released in March, but, the standard version available elsewhere didn’t include them. The Deluxe Edition of BROKEN TEMPLES also includes “Memoria,” “Desperate Heart,” and a demo version of “That Was Then This Is Now.”
 
“Lay Your Weapons Down,” a bluesy, soul guitar track, and “Freak Flag,” a tongue-in-check nod to 90’s Christian rock in the vein of classic Audio Adrenaline and dcTalk, represent a tone not characteristic of the album as a whole, but, certainly warrant their own inclusion as bonus tracks. “Memoria” is my favorite of the additional tracks. It carries on a very Beatle-esque quality that is hinted at on “Infinite,” and one can’t help, but, to sing along after just a listen or two. “Desperate Heart,” on the other hand, fits extremely well into the pop-new wave feel of earlier album tracks such as “Just As I Am,” “Clear,” and “That Was Then This Is Now,” with synthesizer, bass line, drum machine, and vocal textures that would make any 80’s music fan swoon. The demo version of “That Was Then This Is Now,” is very closely related to the slightly more produced version that ended up on the standard release of BROKEN TEMPLES. They are so similar, in fact, that I’m tempted to ask why it was included. But, altogether, the five additional songs gave BROKEN TEMPLES the balance it needed to tip my assessment of this album from 4.5 out of 5 to a full 5 out of 5.
 
There is a fair amount of space for the listener to soak in and reflect upon the lyrics, as presented by Max on BROKEN TEMPLES, in order to make them their own, while the arrangements and production of the album ensure that the songs will only gain traction with repeated listens and that the album, as a whole, will age well and, perhaps even, better than other albums released by his contemporaries in the contemporary Christian music industry. Well done Mr. Max.
 
On a scale of 1-5 Stars: 4.5 (BROKEN TEMPLES)/5.0 (BROKEN TEMPLES – DELUXE EDITION)
“Infinite” by Kevin Max from BROKEN TEMPLES
“Love Feels Like (featuring dcTalk)” from TobyMac’s THIS IS NOT A TEST

BROKEN TEMPLES by Kevin Max is out NOW!

kevin-maxThe long-awaited album BROKEN TEMPLES, by Kevin Max, was officially released yesterday and made an immediate impact on iTunes, especially considering the fact that the album was released without a major label media machine to hype it’s arrival prior to release day. Truly, it is an amazing album! But, I’m taking a couple more days to soak it up before I write my review. In the meantime, check out these reviews that have already been published and then look it up on iTunes or Amazon:

Jesus Freak Hideout – 4 out of 5 Stars

Breathecast

Christian Review – 4.5 out of 5 Stars