Special note: Brian Q. Newcomb also writes the Quincessentials music blog at myUCC. Check out his latest reviews of albums by Relient K and the David Crowder Band.

Switchfoot
Hello Hurricane
Sparrow/EMI

San Diego based Switchfoot (the name comes from a surfing maneuver where, you know, you switch feet), broke out of the Christian music scene after three fine albums with the mainstream hits "Meant to Live" and "Dare You to Move" from their 2003 album "The Beautiful Letdown." A smart pop band that knows how to rock (or a great rock band with smart pop hooks, you decide), this band has taken the catchy songs of Jon Foreman to a sizable audience, still largely rooted in the Christian music world, with a series of solid, artful records; "Nothing Is Sound" ('05), "Oh! Gravity" ('06), and now "Hello Hurricane."

Writing about Switchfoot, Spin Magazine writer and author Andrew Beaujon ("Body Piercing Saved My Life; Inside the Phenomenon of Christian Rock," an excellent primer on the issues in this genre written by a self-described outsider) has suggested that Switchfoot's music and lyrics are shaped so that Christian audiences hear something that connects with their spiritual inclinations, while mainstream fans get a message that's a bit less specific. I'm reminded of Jesus' use of parable, "let those with ears, hear." What's wrong with writing music that encourages Christian fans, while engaging the emotional and spiritual journey of a broader audience at the same time? To my mind, absolutely nothing.

On "Hello Hurricane," Switchfoot is operating as the mature, thoughtful, fun, rocking band they are. The ever present lush guitar textures of the last couple records returns front and center on the album's opening salvos. "Needle and Haystack Life" feels subtly familiar, celebrating the love that comes "once in a life time," but visiting spiritual themes like forgiveness, hope, and the idea that life is no accident, but a miracle.

"Mess of Me" kicks into gear with a gritty, grungy guitar riff, that develops into a bold bluesy scat melody line as the crunchy rock hook begins to unwind as the song comes into it's own. Again, it's about acknowledging one's need for forgiveness, a fresh start, a new slant on life.

"Your Love is a Song" is a song that could easily serve another purpose in a contemporary worship service, celebrating the gifts of God in creation, and the song of God's love flowing out to all with an "open mind" to the inner harmony of the world. This one has the plaintive feel of some of U2's more recent ballads, and the spiritual sentiment to boot.

The gritty, militant shuffle that drives "The Sound" is subtitled "John M. Perkins Blues" for the civil rights minister and racial diversity activist. Foreman, in the notes on the songs that he's published about the songs on this album, credits the influence of Perkins' autobiography, "Let Justice Roll Down," as the song's influence. Love is the power that brings down the walls that separate humanity.

"Enough" asks what I always think is a stupid question, "do you love me enough to let me go?" But in the notes, it's clear the writer sees this as a song about faith. "Free" speaks of life being a prison cell if we let it, a sister song says Foreman to "Mess of Me." In his notes he relates a challenging quote from Soren Kierkegaard, "People demand freedom of speech as a compensation for the freedom of thought which they seldom use."

And so it goes, Switchfoot continues to deliver gritty, rock energy, in songs that have a melody substantial enough to hold its own among the wind and fury that is "Hello Hurricane," the title track about the relentless challenges of life, and the final supremacy of love. "Always" follows, a centering song celebrating the new birth of a child, a fitting pop ballad. It becomes a praise chorus, as well, and again I can feel the influence of U2.

No need to track every song, they tend to circle around the disc's compelling ideas, "Hello Hurricane" is a rich full, rocking album from a band operating at its prime. Foreman is in great voice, and lends strong guitars, the rhythm section that is brother Tim Foreman and Chad Butler prove solid, and additional guitarists Jerome Fontamillas (ex of Mortal) and Drew Shirley, add a substantial noise factor when it suits the song, as on "Bullet Soul," "Mess of Me" and "The Sound." This band just gets better and better as it ages, and Hello Hurricane continues on that journey.

The Almost
Monster Monster
Tooth & Nail/Virgin

When you put the music of Aaron Gillespie's main band, Underoath, side by side with his work with The Almost, this band sounds downright like conventional post-grunge guitar driven pop/punk band. Hey, "No, I Don't" and "Hand Grenade" sound like country/pop songs, along side some grunge/rock and pop. But then, everything sounds pretty mellow and accessible when you place it beside Underoath.

Written by Gillespie during the down-time when he was waiting around to add his vocals to Underoath's "Define the Great Line," it's clear that he was taking a folk/rock turn on The Almost's debut, "Southern Weather." Together with additional players, The Almost became an outlet to explore Gillespie's southern rock and pop song roots, something one can safely suggest was not an option in Underoath, where the band's relentless metalcore approach remains the rule.

Within the confines of UO, Gillespie's vocals have tend to be the more melodic, with Spencer Chamberlain dominating with his screaming howl, but that's not always the case. Here, Gillespie writes the lyrics and sings with a more traditional singer/songwriter melodicism, and this time out there's more of a band feel throughout the recording, giving guitarist Dusty Redmon a little time to stretch out here and there.

But again, these are predominantly hooky pop songs. For instance, "Books and Books" starts off all feedbacky with emo-angst, but then the chorus falls into place and it's a memorable radio hook. Okay, it's all punky attitude on the verses, full of crunch and guitar licks, but wow, that "go ahead and write it down" line is as catchy a song as I've heard… well, since I sat down to write this review.

The Almost delivered a heart-felt reflection on "Amazing Grace" in the middle of the song "Amazing Because It Is," where Monster Monster feels more like a solid rock record. There's enough grist and blister in the title track, "Lonely Wheel," "Want To," and "Get Through" to balance out the pop approachability driving around sound of "Summer Summer," "Soul On Ten" and the gentle folk song feel that begins the set closing "Monster" before it develops into the full-throated rockin' blues that any kid from Florida would be proud to call his own.

Gillespie refuses to play it safe, do the expected, sit in one genre comfortably. He's got Underoath for that. As he sings in the last song here, he wants to be free, a freak if you will. It's a bold testament to a faith that doesn't fit in the comfortable categories.


The Rev. Brian Q. Newcomb is Senior Minister at David's UCC in Kettering, Ohio and a long-time music critic published in Billboard, CCM Magazine, Paste, The Riverfront Times and St. Louis Post-Dispatch, among others.