The very first song I heard by Strongarm was their cut on Tooth & Nail’s Helpless Amongst Friends Volume One. The song they contributed was “Count The Cost”, an admonition of believers to bear the sacrifice and burdens of being a follower of Christ.  That song really impressed upon me and convicted me about my Christian life, something that really stuck with me.

Strongarm’s album Atonement is no different. Strongarm has some very insightful and powerful songs, lyrically and musically. I’m not too familiar with the hardcore scene, so I can’t really make any comparisons to bands. But this album is heavy.

All of the musicianship is top-noptch and tight. The sound quality is crisp and well-produced. I’ve often wondered about the stamina of artists who play this music; the frenetic rate at which they play their instruments can only be God-given. Jason Berggren’s vocals are truly awe-inspiring as he snarls and roars throughout the album.  Surprisingly, this ferocity doesn’t come at the loss of the message’s clarity; everything he says comes across clearly and plainly. This shows considerable talent, considering the intensity with which he sings.

The album begins with “Division”, a song the decries ignorance, and the blindness that hatred and anger breeds. “Trials” is an open account of the struggles that Christians face: “Again and again I struggle with myself, my shortcomings/My strength, my soul, so weary of this/I have to face the pain of my fault/within these tests, these trials, the marks I miss”.

In the end, the purpose of trials is revealed, along with the strength that we have been given to overcome them.

While most of the songs deal with internal struggle and demons, “Innocence Lost” deals with the pain and shame of abortion. But where some Christians would like to speak in images of judgement and despair, Strongarm uses a message of hope—in “a life of regret, still grace abounds”. People who have chosen abortion as a way out do not need the hatred of Christians, or their judgement. Strongarm sets an example by realizing that God’s grace still abounds to these people.

In the end, Strongarm looks at the church with the most moving song on this album, IMHO. “Strengthened In Faith” contains one of the most perfect statements of the strength and power we as Christians have. To a breakneck, marching beat, Berggren proudly states: “Accomplishing the perfecting of our faith/An understanding of what is right/Accepting our allotment in this life/These days are numbered, rooted in turmoil/We must fight the good fight/Every day brings a spiritual battle/Not exceeding anyone’s limitations/To refine us so that we may be prepared for the next/Though we become weary/It has been granted unto us/The ability to remain loyal, unshaken in spirit”.

I could go on quoting lyrics from this album. Each song features throughtful, well-written lyrics that are founded on Christian ideology. If there is any one theme that runs through this album, it is that this life is full of struggles, but Christ’s strength in us allows us to prevail. IMO, this is something that we as Christians need to reminded of as often as possible.

I’ve been a fan of Ronnie Martin’s ever since his days in Dance House Children. His beautiful synthpop, mixed with delightfully innocent and childish lyrics, and a delicate voice were always a beautiful contrast. That formula carries over into his Joy Electric days, but the music has even more depth.

It’s easy to dismiss Joy Electric as electronic “beep beep”/video game music(as my roommate and many friends do). It’s probably this reason that he fails to get any recognition, in this age of punk wannabes and rehashes. However, digging beneath the surface, you see that all of those electronic bells and whistles are merely trappings for some of the most beautiful pop songs and melodies you’ll hear. Case in point, “May All Saints” features a very heavy “bleeps and beeps” content, but you also hear poignant, drifting synth melodies, along with Ronnie’s delicate, almost effeminate vocals. However, many people will just stop at the surface and won’t hear the beauty contained in each of these 10 songs.

This album also sees another increase in Martin’s lyrical depth. The lyrics are rife with medieval imagery, which makes for a delightful contrast with the synthesizers and electronic sounds. On “Burgundy Years”, Martin sings: “The scepter song hearkens dominion/To sew the champion/The mantle of the sword bearer/Becomes the hummers harp of elation/Foes from the northern nook/And spirits from the fall/Behold the ancient emperor/Has arms outstretched to all.”

There is also Christian imagery presented, but Martin again shows his tact and tastefulness by using stirring images and poetic language to paint a beautiful picture of God and His love. Not once does Martin resort to cliche and brow-beating. His lyrics are well-written and several images have multiple meanings, adding more dimension to the songs, without sacrificing any emotional ties. I rarely come across a writer who is as open about his desires, failures, and loves as Ronnie Martin.

At the risk of sounding cheesy, Joy Electric’s music brings back a sort of wistfulness, for more innocent carefree days. Maybe it’s the hooks and melodies that hit me, or the unpretentious lyrics, or the pure electronic sounds he uses. While this music may not be for everyone, I’m convinced that Joy Electric writes the best pop songs on the planet, electronic or not. I love Ronnie Martin’s music, and it’s sad to see such a genius fail to get the respect he so richly deserves.

This is the first Vidna Obmana album I bought and already, I’m very intrigued by his work.  On “The River of Appearances”, the foundation of Obmana’s music are his slowly building, subtle sound loops.  Rather than making his music boring and repetitive, like sound loops could easily become, the loops are very soothing and serene, like watching the clouds change shape or watching colors fade on a painting.  Soft, looped sounds roll and pulsate throughout each composition, while fragments of melodies occasionally occur, consisting of sparse piano lines or guitar phrases.  This is very effective in drawing me away to a calmer place, similar to that not-awake-yet-not-asleep feeling you get.

Some of the songs project a romantic mood, but in that longing, forlorn way that Projekt is famous for.  And don’t be scared off by the Projekt name that appears on the album.  This is not gothic, goth-ambient, darkwave, or any other dark music cliche.  Vidna Obmana’s music is beautiful and melancholy, but not overly so.  Rather, they create a serene mood, perfect for contemplation, reflection, and/or meditation.  While none of these songs could be considered dark, they are all exquisitely made and this shows in the effect they have on me.

Occasionally, ethnic percussion appears to propel the song along.  But Obmana uses it in small amounts(a tasteful approach imho), relying on the sound loops and celestial to create the mood.  The music is spacy and not too empty, but just enough to make you appreciate the sounds.  Each song is so well-composed that they just seem to flow into eachother, but yet can stand on their own merit.

This is some of the most relaxing music I own, and by far one of the best ambient albums I own.  The songs aren’t too terribly long, the longest being slightly over 10 minutes.  While sometimes I wished the songs were longer, I think this adds more diversity to the album.  It left me wanting more, which is the mark of an artist.  It would be very easy for this music to become boring and banal, but Obmana injects a personal and spiritual aspect to his music.  Sometimes, the music truly sounds divine.

I first heard Labradford when I picked up their first album, Prazision, when I went to go see Low in concert last November. After listening to Prazision, I was pretty disappointed. I thought this was supposed to be a hallmark of icy ambience. Their music seemed a little pretentious and failed to hold my interest. While there were a few bright spots, overall the CD was destined to gather dust on my shelf.

But I kept hearing people rave about them, so I thought that maybe I was missing out on something. I mean, not everyone could be wrong. After seeing this album several times in a local indie music store(well, the only indie music store in Lincoln), I plunked down the money for it. I am so glad I did.

“Phantom Channel Crossing” starts off with the rattling of chains drawn across a metal container as dark sounds pulse and throb in the background. The song continues building up, leading you to some Godforsaken place. Suddenly, it’s replaced by “Midrange.” Imagine a Low song, if Mimi Parker switched the viola. It’s a quiet piece, broken up by electronic bleeps, downright serene compared to “Phantom Channel Crossing.”

“Pico” is an endearing track. Beginning with the bassline, a church organ and sparse guitar melody soon join in. Over the whispered vocals, a haunting moog is heard, evoking a nostalgic sense. It’s like something that might be played while driving through adandoned towns lying in deep snowy shrouds and forests. On “The Cipher”, you’re listening to a blizzard. The wind whips across the barren prairies and plays along the telephone wires. The wires resonate and sing in the wind, like a disembodied wall of voices howling in the middle of the night.

Barren and desolate, this album evokes the feeling of driving down long stretches of abandoned highway on a winter night; the only light comes from glancing at the stars above and the disembodied lights floating on the highway in front of you. It’s a beautiful work, glittering with ice and chilly atmospheres.