Cedars, December 2018

December 2018 16 ARTS & ENTERTAINMENT Music Reviews: The Brilliance, Josh Garrels and Josh White by Callahan Jones Callahan Jones is a senior journalism major and the Digital and Design editor for Cedars. In his free time, he enjoys making coffee, being overly critical about music and playing games with friends. Josh Garrels & Josh White - EP On the new EP “Josh White & Josh Garrels,” two of the largest figures in the underground Christian music scene team up to cover each other’s music. The titular pair also composed an original track, “Spirit Resurrect,” for the EP. I will admit, as far as Christian music goes, Josh Garrels has historically been one of my favorite artists. I will also ad- mit, I had never heard of Josh White until very recently. Thus, I went into this album with a set of mixed expectations, high for Garrels and with none for White. Garrels covers White’s tracks “Forgiven” and “Enclosed by You.” Both of them easily sound like they could have been off his newest album “Home,” featuring light synths and skill- ful and fun acoustic guitar riffs. It was interesting to hear Garrels talk in such certain terms about his faith and about God on these tracks, as historically he is usually a more vague character. Both of them focus on the love of God and the for- giveness he has bestowed upon us. However, I enjoyed them. White covers the Garrels tracks “Don’t Wait for Me” and “The Children’s Song.” Interestingly enough, these didn’t sound too different than their original tracks to me, besides the presence of White’s baritone voice instead of Garrels’ ten- or. These tracks carried similar stylings to Garrels, with guitar riffs, simple drums and the presence of simple bassy synth holding down the backbone of both of them. The song created by the duo for this project, “Spirit Res- urrect,” wasn’t anything super special. It is solidly in the camp on a worship song, asking the Holy Spirit to improve us and mold us through his power. The musical stylings are the same of the rest of the album: simple drums, a heavy bass line and guitar riffs making up the bulk of the backdrop. There is a pretty acoustic guitar interlude that I found very enjoyable. Overall, this EP was an OK listen. There wasn’t anything groundbreaking going on from either artist and the one new song on the project was just OK. I look forward to more new content from the both of these artists, but I do think that they could have done better than this. “Suite No. 1: Oh Dreamer” by The Brilliance The Brilliance, a duo made up of David Gungor and John Arnd, creates what they describe as “spiritual protest music.” Nothing they have released to date better fits this description than their newest EP, “Suite No. 1: Oh Dreamer.” The album, according to Gungor and Arnd, was specifically made for the “DACA Dreamers,” those in America who would be affected by the Trump administrations cancellation of DACA (Deferred Action for Childhood Arrivals), an Obama administration era program that allowed undocumented immigrants that were brought to the U.S. as children stay and potentially be able to gain full legal status. The first track, “Welcome to the Darkness,” sets the po- litical and emotional mood for the project, focusing on how Gungor views his fellow American Christian’s treatment of immigrants as hypocritical and anti-Biblical. This theme con- tinues throughout the rest of the 24 minutes of the EP. In “Stranger,” the band reminds the listener that we our- selves are strangers in this land, both from a spiritual perspec- tive and a literal one. “Where Would You Be” and “Don’t You Let Go” seem spe- cifically aimed at the Dreamers, telling them not to let go of their dreams and hopes, as things will get better. The song “Oh Dreamer” has two versions on the album, with the same lyrics. It is a cry out to immigrants, telling them they can find peace in both God and in the United States. The first features a guest vocalist, Diana Gameros, and the second features only Gungor. The EP features the normal, interesting musical styles the band normally offers, ranging from sweeping strings and moving bass lines over techy drums on “Welcome to the Dark- ness” and the second version of “Oh Dreamer” to honky-tonky acoustic guitar and a kicking bass drum on the first version of “Oh Dreamer” to the emotional piano and cello solos “Valte’s Dream,” “Ludwig’s Dream” and “Lilly’s Dream.” Overall, “Suite No. 1: Oh Dreamer” does a good job at communicating its (potentially controversial) message, while providing interesting musical stylings to back it up. I enjoyed it and was particularly impressed by the instrumental tracks. Album art courtesy of Indie Vision Music Album art courtesy of Podbean