Kim Gentes

Inspiration, engagement, anthems, compassion and justice. These are the themes that stream into the mind when one thinks of the modern student movement and conferences known as Passion/268 Generation and its visible leaders Louie Giglio and Chris Tomlin. These themes and impact have only solidified and intensified with the latest edition of their live conference worship recordings, "Passion 2013: Let The Future Begin". With unrelenting stadium rock anthems, excellent lyrical songs and a great live engagement experience caught on the recording, this album continues the tradition of making Passion not only an influential musical voice to the college generation but a perennial provider to the liturgical sound track of the modern church.

Since Passion's first release in 1998, their annual conference has fueled both original songs and re-arrangements of great choruses and hymns from the Christian church song catalog. This project brings a huge collection of songs that are all usable and very thoughtful. One of the things that marks this release is the use of several voices across its track list. No less than eight different worship leaders lead this collection of 15 new tracks (there are only 14 on the regular version, but an extra track on the deluxe version). What this does for a lengthy "live" album like this conference recording is make it much more of an experience than just a collage of top songs. With a consistent sound canvas and band playing, these songs leap off the tracks and engage the heart in a worshipful experience.

Beginning with "God's Great Dance Floor", Chris Tomlin kicks off this album with pop/dance 8th notes that have both the conference crowd and the album listener clapping and surrendering their hearts in energetic praise. This is the 3rd album that this song has appeared on recently, and I have found it invitational and inspiring a song. While it is not likely a song that every congregation will jump to use, because of its dance/pop arrangement, it is perfect for almost every youth group and celebrative praise time that comes to mind. If your musicians can can play it, prepare to start the party!

The second track, "The Lord Our God" is one of the most usable songs on this album. Led and co-written by Kristian Stanfill, this song is a declarative listing of the glorious attributes of the Lord our God. It is a song that combines (in a bridge) those characteristics of God with a declaration from the worshiper to follow God's lead by committing to: 

We won't move without You
We won't move without You
You're the light of all and all that we need

At its core, this song carries the message and undergirded values of the Passion conferences- to make His name famous (Passion's mission statement is based on Isaiah 26:8 which says "...for Your Name and renown are the desire of our souls"). A great medium/fast tempo song with excellent lyrical and Biblically based content.

Track three is "Jesus, Only Jesus", a new song led by Matt Redman (who, like most of the tracks on this project are led by one of the writers of the song being sung). This song is melodic, powerful and very well crafted musically. Like all the songs on this album, I went through them with my guitar, playing along to learn, enjoy and ascertain how I might use these songs in worship times. I really loved this song. It has a unique musical twist in this song, in that the hook of the song contains a single phrase that changes the time signature for one bar. The song is in 3/4 time, but the hook line uses a bar of 4/4 for each iteration. This can be tricky at first, but after you practice it, it fits well. The song is well-worth the time it may take to learn to play it.

"Once And For All" is a great new song as well, another anthem that rings with great music, melodies and most of all some excellent theological concepts said well in succinct language. Some of the the lyrics use Christological language not normally seen in worship songs, borrowing liberally from the ancient creeds, such as these selected lines

He is the light in the darkness
Who took on flesh and took our place...
We believe our God is Jesus...
Jesus, Jesus, God from God, Light from Light

These are deeply theological and meaningful statements that call the worshiper to investigate the claims of such a song. It is certain that such writing will have congregants asking leaders and pastors what lyrics such as "God from God, Light from Light" mean. And this is a very good thing. Understanding the nuances of how such central faith statements have come about can only be a positive to any local church community and the spiritual growth of the people. In fact, what is an undertone in a number of tracks across this recording is the language of the ancient creeds and deeper theological statements. From the song just mentioned to "In Christ Alone" to "The Death of Death" and others- this album's pop/rock sound belies the profound lyrical foundations on which some of these songs are built, and this is a joy to discover.

The album continues through spiritual hunger song "Burning In My Soul", and the now church standard "Revelation Song" and into "Children of Light" a call to "rise up children of light" (which, with its overwrought "whoah- oh oh oh" lyrics sounds like a lot of superfluous cheer leading that abandons the strength of the rest of the album). But moving on through this project, track after track testifies powerfully with exceptional lyrics and great music, making this perhaps the best collection of new songs ever to appear on a Passion album. Yes, it is that good, and that extensive. Other songs that you must check out include "Whom Shall I Fear" (led by Tomlin), "Come to the Water" (led by Kristian Standfill), "In Christ Alone" (led by Stanfill, this is the best revision of this song I have ever heard- excellent additional bridge and more singable than any other arrangement of this song) and dubiously named "The Death of Death" by Charlie Hall. Really, be sure to listen to every track on this project and find out what would best fit your local congregation. It is truly worth hearing.

But I would be remiss if I didn't give a special recognition to the standout song on this project. My favorite song on this album is a simple but incredibly poignant surrender song "Here's My Heart" led by David Crowder (written by Giglio, Ingram and Tomlin). This song reminds me lyrically of Brenton Brown's "Surrender" or Hillsong "I Give You My Heart" (Reuben Morgan). This text of this song is a powerful offering of the soul given up to God through simple lyrics that present the one gift God looks for in our worship- the human heart, will and obedience.  If you absolutely are looking for one amazing song, this may become your favorite new song of 2013. It is mine.

Let me be clear- when I listen to a project from a group that has high popularity or notoriety, such as Passion, Hillsong or Jesus Culture, I am especially critical of their projects primarily because I don't want to recommend music based on the commendations of their namesake or past success to guide the value of a current project. With that understanding, I was armed intently to investigate this release. But instead of having a stoic critique of this project, the thorough and wonderful application of thoughtful lyrics, excellent music, melodic songs and a seamless live experience make this album the latest winner of my "Editor's Choice Award". It is really that good.

For churches using WorshipTeam.com, all of the songs, chord charts, lyrics and audio from this album are already available and pre-loaded for you in the WorshipTeam.com system song database.

If you are not part of WorshipTeam.com and want to listen to audio samples or purchase the album directly yourself, see the Amazon link below.

Glenn Packiam's new solo album "The Mystery of Faith" is the newest project from this songwriter/pastor from New Life Church in Colorado Springs. In a surprising and encouraging departure from past recordings, this album ventures at speaking the central truths of the Christian faith, usable by all Christian churches whether modern or liturgical. In fact, this album presents a modern worship liturgy that can be used as a guide for an entire service or applied in portions, using songs that fit for the kind of themes and services you may planning for.

This is a studio worship album featuring several new songs based, created and presented as a fresh expression of the historic liturgical service! In addition to 8 songs, there are two readings (the Nicene Creed and Prayer of Confession) with musical backdrops for easily adoption into your services. This concept project has value both as a collection of great songs and as a complete service that brings the message of our faith through the progression of these songs. Glenn co-writes with Ian Eskelin, Ian Morgan Cron, Jennie Lee Riddle, and others to craft these beautiful and usable songs.

Walking through each track song by song does not convey the mode of use of these songs. One must experience these songs as a collection and participate as a worshiper, being shaped by the songs as they provide the movement of the central components of worship that have been used in churches for hundreds of years. The proclamation of faith, the creed, the prayer of confession, the blessings to one another, declaration of the risen Christ, the Alleluia - each of these elements are poignant and engaging.

Something must be said about the significance of this project as a gift to the broader church. Many worship writers, leaders and artists claim that they are writing new songs for "the church", but few have gone to the trouble of writing songs for usable application in the framework used by over 50% of the global church- the liturgy. Glenn has sculpted these songs as useful tools to the whole body of Christ. This is a blessing and a joy. And even if your church does not use a liturgical format, there are some excellent songs here for use in modern worship sets.

Again, while this album is meant as a liturgically guided worship service, I found some single songs that I would like to highlight for any worshiping church. First is the song "Our Messiah Reigns". This is the last track on the album, but it is an excellent song for both weekly celebration of the Risen Christ and for the upcoming Easter season. Another strong song is "Grace Flows Freely Down", a joyous song about the power of God's grace. Finally, the song "The Lord Be With You" is an inviting song in which the Body can give thanks together while speaking God's blessing to one another.

For churches using WorshipTeam.com, all of the songs, chord charts, lyrics and audio from this album are already available and pre-loaded for you in the WorshipTeam.com system song database.

If you are not part of WorshipTeam.com and want to listen to audio samples or purchase the album directly yourself, see the Amazon link below.

It is no hyperbole to say that Jesus Culture and Kim Walker-Smith have become a powerful new voice in the sound of worship to the new generation and the "modern" church's musical liturgy. So, when I heard that Kim was going to be releasing a solo album, I was interested. Even though I often have the opportunity to get "free" product to evaluate popular worship resources/CDs, I almost always end up buying my own copies of things, because like many of you, I want to know if I feel like the money I spent was worth it. I am delighted to say that Kim's new album, "Still Believe", comes in very strong. It's not only worth the money, its worth your attention.

Having heard the previous Jesus Culture albums, I knew that her passionate vocals were her signature. My assumption was that it would be those impassioned vocals that would take over a solo album as well. I was right. And wrong. Yes, her vocals, with all their presence and passion rip through these songs with both peace and power- fitting them with the proper aspect as the song demanded.  But also, no, in that Kim moves from just being a great voice to being a promising songwriter. On "Still Believe", Kim steps in with a surprising ability to write and present songs that are fresh, inviting and actually thoughtful.

The album kicks off with "Alive", a note pounding declaration that resounds with

"We will make Him known, Jesus is alive. He's alive!
We will shout it out, Jesus is alive! He's alive!"

The first track, written by Gabe Kossol and Jeremy Edwardson, comes across very strong, intentional and engaging. This is a great launch pad for the album. Praising God and declaring the resurrection truth is focused and yet celebratory. I love it!

The next song is written by Chris McClarney (author of "Your Love Never Fails") and others. "Waste It All" has quickly become one of my favorite "surrender" songs. Lyrically, it is a musical interpretation of Matthew 26:6-13 (woman pouring perfume on Jesus) in the first person. Every time the chorus rings out I find myself surrendering once again.

Track three continues the very hopeful, God-ward and personal language of all the songs in this album. "The King is Here" is new song written by Kim and Christa Black, this one exclaiming that God is here among us, He is present and we can rely on His being present and rejoice in that same reality. As much a song of faith as praise, this song takes our attention clearly from the far off God who watches us to the very present King who is in our midst. Again, focused, clear and powerfully delivered. Love it!

"Yield My Heart" settles back into a gentle brushes/cadence and Kim Walker-Smith opens up in first person language confessing, "I yield my heart to You."  Again, coupling surrender and declaration, this song feels like a simple prayer, straight out of the ethos and language of the Davidic Psalms. And this is what endears you to this album- her intense focus on Christ, clearly at the expense of exposing her own vulnerability as she unrelentingly sings out these songs.

Tracks 5 and 6 are a live version of the Tim Hughes (et al) song "Spirit Break Out" and a spontaneous tag that extends out through an entire track. To be sure, almost every song on this album has a tag and impromptu segment that takes each song to a personal and "uncorked" expression from this worship leader to God, with all of us carried along in the tow of real worship. This song is a very well written re-examination of the Lord's Prayer (Matthew 6) that links that prayer to the release of the Holy Spirit across mankind and history. A beautiful prayer and offering. Walker-Smith doesn't leave the song to the text given by the songwriters. She expands on it with her own passion, ad libs and unguarded confessions of need to be overflowing with the presence of Christ, His love and His character.

The title track "Still Believe" carves a beautiful melodic understanding of the atonement found in Christ's blood and the sufficiency it establishes for all those who believe. Maybe one of the most focused songs on the blood of Christ that I have come across. Without compromise, Kim declares that the blood of Christ is the center of what grace and provision is available for all Christians. Again, I am very impressed with the focus and articulation that this young writer has by keeping the text to one topic on any given song. A song well worth listening to for anyone looking for great new songs in your local church.

The next track is a cover of Martin Smith & Stu Garrard's "Miracle Maker", done with both lilt and power. Not a song that is easily done in most churches, but a gorgeously presented declaration of the Revelation text that appears in chapter 1 and 4 "who was and is and is to come". The final song (called "Healing Oil" by Chris Lizotte) is a jubilation of thankfulness that launches Kim Walker-Smith into an overture of refrains. She is singing out, at the top of her lungs, declaring that she wouldn't trade another lifetime for the reality of God's presence being there, right now.

And that highlights precisely why I LOVE this album. Kim Walker-Smith refuses to be afraid of singing songs that are either well articulated theology ("Still Believe" and "Alive") or "in the moment" passion ("Waste It All" and "Healing Oil"). It is that edge of unguarded evocation that makes the album feel like a breath of fresh wind on the landscape of "prescribed" worship music productions which are often addled by so much musical and theological care they leave true passion off the recording.  This needn't be so. And Kim Walker-Smith proves it.

I loved this album. You will too. Really.

For churches using WorshipTeam.com, all of the songs, chord charts, lyrics and audio are already available and pre-loaded for you in the WorshipTeam.com system song database. If you are not part of WorshipTeam.com and want to listen to audio samples or purchase the album directly yourself, see the Amazon link below.

Woah! Worship music redefined? With the last 10 years, what has been defined as a "worship album" has become a moving target. Well friends, the target has just moved again. Hillsong United's "Zion" departs from the stadium anthems and deep grooved choruses of their previous albums and the standard mix of the 4/5 piece "praise band" is traded in for electronics, pop-production ballads and an "Owl City"-esque layering of arrangements. Even the vocals are pulled back to set the songs into an artistic place never before seen on any Hillsong (United or otherwise) project. Experimental electronica, orchestral pad swells, breathy solo vocals, deep reverb and loop-timed guitar arpeggios all make this recording seem an almost surreal departure for Hillsong United. 

I found this a very unique album to get used to. Because it is much more of an initial listening experience than a typical "worship album", you might be tempted to start listening for "usable songs"- but taking that approach won't work, at least not initially. What you must do with this album is listen to it 4 or 5 times first- just sit. Listen. After the songs go through your head and heart enough times, you will find yourself really loving this project. Then, you are ready. Listen through it again for what might be songs that could fit and work in your local context. There will be some, perhaps several. But take the time.

So much of this album sounds like something new, literally every track is worth a listen. The album starts like a euro-pop 80's hit radio barrage with front track "Relentless" leading into a beat driven chorus of

Your love is relentless
Your love is relentless

Track two, "Up In Arms" beckons to more European sounds with whistles and pipes bubbling over drum cadence, and while gradually flowing into full refrains it infectiously implants the melody in your head long before the song ends (that is despite this song's vague, aimless and scattered lyrical themes). "Scandal of Grace" is a 6/8 departure with acoustic guitar only intro on a parched dry vocal- but once again, this builds eventually into an "all in" chorus.

When I hit "Oceans" I found myself weeping in surrendered prayer along with the song, as Taya Smith sang against a backdrop of stripped down pads and electronic drums. With a Leigh Nash-esque style, her vocals lilt and soar to make this song a poweful ocean of experience and prayer. Really, really good.

And so this album goes.. ranging from songs that sound like 80's euro-pop to modern day acoustic, unplugged. Stops made along the way will range across sounds like more organic bands such as "City Harmonic" and "Rend Collective Experiment" to electronica "Owl City".  And while there is a definite thread of electronica loops and tones that sow this album together, its clear that the Hillsong United crew was looking to step completely out of the "worship rock" world their youth concerts are known for. Even the end of the album keeps throwing twists your way- from the stripped back piano ballad of "King of Heaven", the John Mark McMillan styled "Arise", to the overdriven bass on "Mountain" that leads into a few big choruses.

For myself, my three favorite tracks on this project are "Oceans", "Scandal of Grace" (both previously mentioned) and "A Million Suns" (track 10), whose strange 70's cheesy organ sound blithely tags the song sections into a surprisingly well scripted lyrical adoration of

Jesus the First, the Last,
the Bright and Morning Star

In sum, this album is a brilliant musical exploration of what worship groups and songwriters can do when the "limitations" are taken off. There is much to like here and, excepting the directionless lyrical approach of "Up In Arms", the rest of the album not only scores strongly on musical vibrancy and enjoyment, but lands some solid songs that (perhaps re-arranged) could find their way into youth groups and Sunday morning worship services.  You must listen to this album. It is truly unique and truly a gift.

For churches using WorshipTeam.com, all of the songs, chord charts, lyrics and audio are already available and pre-loaded for you in the WorshipTeam.com system song database. If you are not part of WorshipTeam.com and want to listen to audio samples or purchase the album directly yourself, see the Amazon link below.

Today I had the opportunity to listen completely through the new album "Deeper" by Christine D'Clario. It was a real delight! D'Clario is joined on a few tracks by worship leader/songwriters Anthony Skinner and Leslie Jordan to put voice to these 10 excellent worship songs. But the majority of the project is led simply by Christine herself. D'Clario co-writes on half of the songs on this project and uses standout compositions from others such as label-mates Daniel Bashta, Richie Fike, and others like Paul Mabury (One Sonic Society), Israel Houghton and many others.

The album ranges from radio pop to piano ballads to modern revisit of a classic hymn. There is a deep and grounded sense of presence to D'Clario's singing of these songs. She sounds so comfortable with the music, with the lyrics, that one takes away a sense that these songs are personal reality for her- that these songs are not just "favorites" she is singing for Sunday morning "airplay", but she genuinely believes them and embraces them as her story. These songs are a listening joy and carry something of a spiritual peace as you join in with them. 

Perhaps it is the steady, but subdued pacing of the songs and the arrangements, but this album is powerful, spiritual and deeply worshipful. Rather than forcing some theme or topic with over-arranged music and thunderous, complex instrumental assaults, D'Clario's voice is the focus here. Producer Paul Mabury scopes this project well, holding in the electric guitars, keeping the programming and rhythm compact and well-paced, and returning to the simplicity of piano and simple beats to frame the worshipful arias of D'Clario's sincere expressions.

One could sit down to listen to this album and not get back up for hours. It is captivating especially in its pensive, worshipful moments. Favorite songs for me were ballads Magnified (track 2), Pursuit (track 3), and Faithfulness (track 5). Strangely enough, I would venture to guess that "Arise" (track 7) will be a favorite for almost any church looking for an upbeat declaration song, with its pop-beat, infectious chorus and contrast to the rest of the album. But I warn those who think they will just skim over this project by listening to a few songs- you are more likely to find yourself awash in the peaceful sounds of D'Clario's sublime ballads and settled into your chair in worship for an hour or more. And a good number of us could very well use that kind of interruption in our frantic and busy world. This is a very strong album with good songs, well-produced tracks and an enthralling voice of a worshiper anchoring it all.

For churches using WorshipTeam.com, all of the songs, chord charts, lyrics and audio are already available and pre-loaded for you in the WorshipTeam.com system song database. If you are not part of WorshipTeam.com and want to listen to audio samples or purchase the album directly yourself, see the Amazon link below.