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The new eagerly-anticipated self-produced Jars of Clay release, "Good Monsters," promises to shake up the expectations of Jars fans, but in the best possible way.
Exploring, if you will, the yin and the yang of the human experience,"Good Monsters" digs deep musically and emotionally, offering twelve punched up tracks of melodic rock that both excite and soothe. From the first electric moments of edgy opener "Work," you know Jars have taken a different path on this project, and their pleasure in stretching out is contagious, spilling honesty and fresh liberty over every alt rock track. "Good Monsters" is stripped down Jars emotionally speaking. The new material is less lofty, gritty in theme while esoteric in expression. Frontman Dan Haseltine says, "Engaging people who are doing the hard work of laying their lives open to others and avoiding isolation has allowed me to see that there is both immeasurable evil and unfathomable good mixing under my own skin and it is grace, mercy and freedom that allow me to not simply be a monster, but to be a good monster." It is this dichotomy that Good Monster revels in, with the very adept help of stellar guests Kate York ("Even Angels Cry"), Leigh Nash ("Mirrors and Smoke"), and the wonderful African Children's Choir ("Light Gives Heat"). When core members Haseltine, guitarists Stephen Mason and Matt Odmark, and keyboardist Charlie Lowell joined tour bassist Aaron Sands and new drummer Jeremy Lutito in the studio to lay down their collection of songs, they found new pleasures in the moment. That real-time feeling carries over onto all the tracks, but shows up especially strong on the joyous acoustic rocker, "There is a River," even as it urges us to "give it up, let it go. These are things you were never meant to shoulder." The pulsating title track burns with the same unrestrained enthusiasm, repenting of the dullness of spirit that epitomizes our dilemma. Hard rocker "Take Me Higher" is thick with tasty guitar effects and exuberance. The passionate "Oh My God" is one of the more captivating tracks, quietly building from its gentle acoustic opening to a pounding and fervent plea for a moment's relief, if not answers. The pointed lyrics do not shrink back from the honest doubts and fears of the dark night, but "Good Monsters" recognizes that even the asking is an act of worship. Our struggle is not removed from the life of faith, but is an inherent element of the truth we must somehow seek to bear. I loved the raw earthiness of "Mirrors and Smoke" and the inclusion of the mighty Leigh Nash doesn't hurt either. Her dulcet tones play perfectly against the blistering guitars and Sands' throbbing bass. In the midst of its heavy note-bending, "Light Gives Heat" asks the tough questions about good intentions, interestingly juxtaposed against the delightful African Children's Choir. After thirteen years of musical excellence and outstanding social responsibility, it's good to see Jars of Clay stretch out in the liberty and power of "Good Monsters." A good time will be had by all. Pick up "Good Monsters" when it hits the streets on September 5. Related ArticlesJimmy Needham, "Speak": A Review By The Tree, "World on Fire": A Review JJ Heller, "Only Love Remains": A Review
The copyright of the article Jars of Clay: Good Monsters in Christian Music is owned by Kevan Breitinger. Permission to republish Jars of Clay: Good Monsters in print or online must be granted by the author in writing.
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