I've been awaiting Relient k's new album, "Forget and Not Slow Down," with cautious optimism. As I explained in a recent post, I hoped to see a move away from the poppier sounds of their last EP and album and a move back to frontman Matt Thiessen's consistently creative lyrics. In a nutshell, I wrote, "[the new album] needs to showcase how talented the band is rather than how talented it could be." Well, Oct. 6 has come and gone. How does the new album hold up? Quite well, actually.
The first and most obvious feature is yet another genre switch. The powerpop of their last two albums is all but gone, replaced by some throwback punk-lite (most reminiscent of the band's third album "Two Lefts Don't Make a Right ... But Three Do"), some full-blown rock and even a sizable helping of folk-rock.
The first and title track kicks things off with some classic-if-forgettable Relient k sounds, but it sets the tone for the remainder of the album: this is a melancholy, yet hopeful, reflection on Thiessen's breakup with his girlfriend. While this is borne out in the lyrics (more on those later), the band crafts the musical framework to reflect the subject matter, and many songs have a rather wistful feel to them. The title track is followed by "I Don't Need a Soul," "Candlelight," "Therapy" and "Part of It." The placement of all of the songs seems good, a tribute to the band's ability to seamlessly transition between songs of drastically different genres. Much of the transition is aided by a musical device new to Relient k: song outros, specifically "Flare" (after "Candlelight") and "Outro" (after "Part of It").
"Forget..." as an album is an exercise in buildup, and the second half ups the ante, starting with the melodic "Over It." Then comes the fantastic combination of the rocking "Sahara" and the mellow "Savannah," bridged by the interlude "Oasis" and closed by the odd "Baby." It's rare to hear musical interludes used as well as they are here, and it ends up being one of the album's strongest points. After the "Saharah"/"Savannah" combo comes the power ballad "If You Believe Me" and the climactic closer "This is the End," followed by the piano-laden "(If You Want It)" another outro (but only kind of. It's actually about as long as the song it closes).
Musically, it's the most cohesive the band has ever been. There may not be as many "moments" as there are on their fourth (and best) album, "Mmhmm," but "Forget..." is consistently enjoyable throughout, and the genre-switching combined with the continuous flow makes for a lasting musical impression. It's also nice to see a departure from the electronic sounds that marked parts of their last two releases. While they were often used to good effect, the more natural sound of this record (which, the band reports, only used "real instruments") is a refreshing change.
"Forget..." doesn't disappoint lyrically, either. It's hands down the best written thing the band has released since "Mmhmm," and while it may not as often reach the heights of tracks like "When I Go Down" or "Life After Death and Taxes," some of Thiessen's best writing is here, from the melancholy "I Don't Need a Soul" to the playful "Candlelight" to the poignant "(If You Want It)."
Thematically, the lyrics are diametrically opposed to "Five Score and Seven Years Ago," the band's last album proper. While the former album is fully of bouncy love songs to Thiessen's then-girlfriend, "Forget..." speaks almost exclusively of dealing with that relationship's aftermath. However, Thiessen manages to walk this oft-tread upon ground without relying on cliches, refusing to fall completely into the "so over it" or the "woe is me" categories. Rather, the wistful music complements the wistful lyrics, surveying a relationship with an end that was painful (and not entirely forgotten) but also probably for the best.
This lyrical maturity is still complemented by Thiessen's trademark clever rhyming, and no song ever dips even close to the repetitiveness and poor quality that plagued recent songs like "Give Until There's Nothing Left" or "I Just Want You To Know." Thiessen seems to be saying that he wants to keep growing lyrically while retaining the aspects of his songwriting that have always worked.
In fact, that seems to be one of the messages of the album as a whole. While some classic Relient k sounds are certainly retained, the band seems to be putting their greater independence (they are now signed with and partially manage Gotee's indie music imprint, Mono vs. Stereo) to good use.
In short: Relient k has definitely exceeded my expectations. While "Forget and Not Slow Down" might not be quite as good as "Mmhmm," it sure comes close.
Showing posts with label relient k. Show all posts
Showing posts with label relient k. Show all posts
Thursday, October 8, 2009
Saturday, September 12, 2009
Thoughts on the future of Relient k
Relient k is an interesting band. The five-piece group, led by frontman Matt Thiessen, has shown marked musical progression since its mostly-bad-but-still-occasionally-charming eponymous debut album in 2000, and the band's commitment to release new music every year (a commitment that has only been broken once) means that there's always something new to listen to. The band's rise in proficiency is well documented, and Thiessen & Co.'s upward trending musical ability is matched by a simultaneous but gradual transition in the band's genre, progressing from garage punk to punk/pop to slick powerpop.
In short, Relient k has not been content with rehashing previous albums, and each release showcases a group that has grown more technical and production-savvy since the last outing. Thiessen's deft songwriting ability should put the icing on the cake of a band that has the chops to be successful without being dull and popular without being the lowest common denominator. And yet, their upcoming album, "Forget and Not Slow Down," may be the last RK album that I ever purchase.
There are a few reasons that my enthusiasm for the band has waned a bit. One reason might be as simple as the fact that it's not the same band that I went through high school with. The band's "classic lineup" began to disintegrate after their fourth (and best) album, 2004's "Mmhmm," with the departure of the original bassist, Brian Pittman. Longtime drummer Dave Douglas left after their next album, and the one-two departures (and the three replacements they spawned) have made the band seem like a revolving door of backups to Thiessen. Add that to the fact that the new members were already notable in the Christian music scene prior to their RK tenure, with resumes that include the likes of the Supertones, Audio Adrenaline, Ace Troubleshooter and others and sometimes it feels like a Christianized version of The All-Starr Band.
Another reason is that I'm not the same person who listened to Relient k in high school. While I would reject the notion that all of the band's music is targeted at the high school demographic, it's undeniable that most of their first three albums and much of their later work has appealed to that age group. I still appreciate Thiessen's inventive turns of phrase, but I don't always appreciate the subjects whose phrases he's turning. Likewise, as I progressed through college, my musical horizons continued to broaden. While I certainly recognize that the band is proficient at the mildly-fuzzy, radio friendly punk-lite of their early work, it's just not something that I'm that into anymore.
However, the primary reason that I'm contemplating leaving the RK fold after "Forget..." is that, though the band remains talented, it has not lived up to its potential.
The year is 2004. Relient k has released "Mmhmm" to much success, due in part to their decision to co-sign with Capitol Records in addition to their small Christian label, Gotee. The album is home to many current concert staples, including "Life After Death and Taxes," "I So Hate Consequences" and, of course, "Be My Escape." But it is more than just a commercial milestone for the group. It marks a transition in style and songwriting.
Thiessen had always been clever, but the lyrics on "Mmhmm" packed an emotional punch that was never reached in his prior work. With few exceptions, gone were the songs about 80s pop culture and... well, no, 80s pop culture about covered most of their silly songs, now that I think about it. In those songs' place were honest, insightful rockers covering the shortcomings that everyone faces. "Mmhmm" ended up being just what Relient k needed: it shot them to national prominence while establishing them as a band with musical chops and lyrical skill (for their genre, anyway). Their success allowed them more flexibility in the studio and more recognition from producers. That means better music, right?
Well, no, but it does mean better produced music. In 2007, the band released "Five Score and Seven Years Ago," which, while undeniably well executed, still seemed to come up short. The shortcomings of the album were only highlighted in the double album length "EP" of 2008, "The Bird and the Bee Sides" (attentive readers will note that this disc made my five best list of 2008. Subsequent listens have soured me on it to a certain extent).
The most obvious shortcoming is the fact that Thiessen often seems to undergo mental lapses in his writing. I'm not sure if I've ever come across another album that contains such a contrast between lyrical brilliance and lyrical dregs as "Five Score" does. Yet, as odd as it seems, "Deathbed," an 11 minute ballad that eloquently examines the life of a dying man, exists only seven tracks away from "Give Until There's Nothing Left," a sappy, simplistic throwaway that Thiessen had no business writing at all, let alone placing on an album.
The contrast remained on "The Bird...," with songs like "Curl Up and Die" and "The Stenographer" showcasing Thiessen's abilities while clunkers like "The Lining is Silver," "There Was Another Time in My Life" and "I Just Want You to Know" simultaneously undermined them. These tracks are repetitive and trite and seem like better produced songs from the band's infancy.
It's obvious that Thiessen is capable of consistently good songwriting. Perhaps he has become a little too self-confident in his talents, presuming that whatever flows from his pen is lyrical gold. I hope he wises up soon. I'm not too keen on albums where I consistently skip three tracks or more because of cruddy writing.
The other way that the band has failed to live up to its potential is its genre choice since "Mmhmm." While "Mmhmm" was their most energetic and riff-laden album yet, "Five Score" saw a foray into pop music that showed no signs of stopping when "The Bird..." came out. Now, there's nothing wrong with well-executed pop, and Relient k does execute it well, but their last two releases have sounded, as a general rule, just like any other band who can write well-executed pop. Their recent success has given them more musical flexibility, and they have responded by becoming more color-inside-the-lines commercial. They've reached a point where their popularity would survive and probably thrive in risk-taking, but instead they've taken no real risks. Their music sounds great, but there are fewer great sounds.
So, what does "Forget and Not Slow Down" need to do to hold my interest in Thiessen & Co.? Simple: it needs to showcase how talented the band is rather than how talented it could be. I want solid, creative lyrics and musical twists throughout. Maybe rock a little harder. They certainly are capable of it.
I'm cautiously hopeful that they will come through. The title track is up on Myspace, and it's not anything super-special, but the album blurb promises a more organic, rockier album than the past two efforts. Thiessen also advertises thoughtful lyrics, the result of sequestering himself in a backwoods lake house for over two months. The ingredients are there, but are the boys up to using them well?
We'll find out on October 6.
In short, Relient k has not been content with rehashing previous albums, and each release showcases a group that has grown more technical and production-savvy since the last outing. Thiessen's deft songwriting ability should put the icing on the cake of a band that has the chops to be successful without being dull and popular without being the lowest common denominator. And yet, their upcoming album, "Forget and Not Slow Down," may be the last RK album that I ever purchase.
There are a few reasons that my enthusiasm for the band has waned a bit. One reason might be as simple as the fact that it's not the same band that I went through high school with. The band's "classic lineup" began to disintegrate after their fourth (and best) album, 2004's "Mmhmm," with the departure of the original bassist, Brian Pittman. Longtime drummer Dave Douglas left after their next album, and the one-two departures (and the three replacements they spawned) have made the band seem like a revolving door of backups to Thiessen. Add that to the fact that the new members were already notable in the Christian music scene prior to their RK tenure, with resumes that include the likes of the Supertones, Audio Adrenaline, Ace Troubleshooter and others and sometimes it feels like a Christianized version of The All-Starr Band.
Another reason is that I'm not the same person who listened to Relient k in high school. While I would reject the notion that all of the band's music is targeted at the high school demographic, it's undeniable that most of their first three albums and much of their later work has appealed to that age group. I still appreciate Thiessen's inventive turns of phrase, but I don't always appreciate the subjects whose phrases he's turning. Likewise, as I progressed through college, my musical horizons continued to broaden. While I certainly recognize that the band is proficient at the mildly-fuzzy, radio friendly punk-lite of their early work, it's just not something that I'm that into anymore.
However, the primary reason that I'm contemplating leaving the RK fold after "Forget..." is that, though the band remains talented, it has not lived up to its potential.
The year is 2004. Relient k has released "Mmhmm" to much success, due in part to their decision to co-sign with Capitol Records in addition to their small Christian label, Gotee. The album is home to many current concert staples, including "Life After Death and Taxes," "I So Hate Consequences" and, of course, "Be My Escape." But it is more than just a commercial milestone for the group. It marks a transition in style and songwriting.
Thiessen had always been clever, but the lyrics on "Mmhmm" packed an emotional punch that was never reached in his prior work. With few exceptions, gone were the songs about 80s pop culture and... well, no, 80s pop culture about covered most of their silly songs, now that I think about it. In those songs' place were honest, insightful rockers covering the shortcomings that everyone faces. "Mmhmm" ended up being just what Relient k needed: it shot them to national prominence while establishing them as a band with musical chops and lyrical skill (for their genre, anyway). Their success allowed them more flexibility in the studio and more recognition from producers. That means better music, right?
Well, no, but it does mean better produced music. In 2007, the band released "Five Score and Seven Years Ago," which, while undeniably well executed, still seemed to come up short. The shortcomings of the album were only highlighted in the double album length "EP" of 2008, "The Bird and the Bee Sides" (attentive readers will note that this disc made my five best list of 2008. Subsequent listens have soured me on it to a certain extent).
The most obvious shortcoming is the fact that Thiessen often seems to undergo mental lapses in his writing. I'm not sure if I've ever come across another album that contains such a contrast between lyrical brilliance and lyrical dregs as "Five Score" does. Yet, as odd as it seems, "Deathbed," an 11 minute ballad that eloquently examines the life of a dying man, exists only seven tracks away from "Give Until There's Nothing Left," a sappy, simplistic throwaway that Thiessen had no business writing at all, let alone placing on an album.
The contrast remained on "The Bird...," with songs like "Curl Up and Die" and "The Stenographer" showcasing Thiessen's abilities while clunkers like "The Lining is Silver," "There Was Another Time in My Life" and "I Just Want You to Know" simultaneously undermined them. These tracks are repetitive and trite and seem like better produced songs from the band's infancy.
It's obvious that Thiessen is capable of consistently good songwriting. Perhaps he has become a little too self-confident in his talents, presuming that whatever flows from his pen is lyrical gold. I hope he wises up soon. I'm not too keen on albums where I consistently skip three tracks or more because of cruddy writing.
The other way that the band has failed to live up to its potential is its genre choice since "Mmhmm." While "Mmhmm" was their most energetic and riff-laden album yet, "Five Score" saw a foray into pop music that showed no signs of stopping when "The Bird..." came out. Now, there's nothing wrong with well-executed pop, and Relient k does execute it well, but their last two releases have sounded, as a general rule, just like any other band who can write well-executed pop. Their recent success has given them more musical flexibility, and they have responded by becoming more color-inside-the-lines commercial. They've reached a point where their popularity would survive and probably thrive in risk-taking, but instead they've taken no real risks. Their music sounds great, but there are fewer great sounds.
So, what does "Forget and Not Slow Down" need to do to hold my interest in Thiessen & Co.? Simple: it needs to showcase how talented the band is rather than how talented it could be. I want solid, creative lyrics and musical twists throughout. Maybe rock a little harder. They certainly are capable of it.
I'm cautiously hopeful that they will come through. The title track is up on Myspace, and it's not anything super-special, but the album blurb promises a more organic, rockier album than the past two efforts. Thiessen also advertises thoughtful lyrics, the result of sequestering himself in a backwoods lake house for over two months. The ingredients are there, but are the boys up to using them well?
We'll find out on October 6.
Wednesday, May 21, 2008
Backlog: Chipping away at Relient k
On October 18, Dave Douglas announced he was leaving Relient k. I'm rather sad about this.
Although Dave wasn't one of the original members, he more or less was. He's the definitive Relient k drummer. Pittman left right after Mmhmm came out. Now, instead of him, we have John Warne (who is moderately cool) and Jonathan Schneck (who isn't).
Original members: Matt Thiessen and Matt Hoopes.Granted, this has always essentially been Thiessen's band, and it will remain that way, but I'm sad that they've almost become another entity with the same name. Something will be different now.
Oh. And one more thing that I thought of while I was writing this. After Dave leaves (end of this year), Relient k will never, ever be able to play Life After Death and Taxes at its full potential ever again. And that is a sad, sad thing.
Although Dave wasn't one of the original members, he more or less was. He's the definitive Relient k drummer. Pittman left right after Mmhmm came out. Now, instead of him, we have John Warne (who is moderately cool) and Jonathan Schneck (who isn't).
Original members: Matt Thiessen and Matt Hoopes.Granted, this has always essentially been Thiessen's band, and it will remain that way, but I'm sad that they've almost become another entity with the same name. Something will be different now.
Oh. And one more thing that I thought of while I was writing this. After Dave leaves (end of this year), Relient k will never, ever be able to play Life After Death and Taxes at its full potential ever again. And that is a sad, sad thing.
Backlog: Relient k - Not just for youth groups
Relient k (along with Audio Adrenaline, Jars of Clay, the Beatles, and now possibly Ben Folds) is one of my favorite bands. And, unfortunately, I have long thought that they have had to endure the misdirected scorn from some music snobs who dislike some music simply because of the type of people who listen to it.
I can't say that I totally can blame them. If a ninth grader came to me and started raving about this cool band that she listens to in youth group, and "ohmigosh they are soooo hot!" 9 out of 10 times I'd tune them out. And yes, rk does have fans like that. However, 1 out of the 10 times (or maybe more than 10) there is some music worth listening to. Relient k is one of the 1's.
I first read about rk in some teen magazine. Later, I heard some of their music at, you guessed it, youth group, and I liked it enough to buy their second (and, at the time, latest) album, The Anatomy of the Tongue in Cheek. And yes, there IS a reason that youth groups like them, particularly their old music. Many of their songs are silly, and almost all of them are ridiculously catchy. And some of their early work (like "Breakdown," "Trademark," and much of the music from their debut) isn't really great quality. But even in the debut, some of Matt Thiessen's lyrical creativity was hinted at, and Relient k continued to improve album after album.
Then they made Mmhmm, their fourth album. Musically, it rocked at precisely the right moments to rock and it slowed down and coasted at the precise moments it needed to coast. Thiessen's voice shined, and the songs melded together to form a coherent whole, while all sounding distinct from each other. Lyrically, Thiessen has (so far) never been better, writing clever and poignant lines to reveal a deeply personal and relatable album.
After Mmhmm, they followed it up with an EP and, this February, they released Five Score and Seven Years Ago. While lyrically not as strong as Mmhmm, it did have several strong points, and while they do not sound as comfortable as they did in Mmhmm, they have produced their most musically diverse album yet. Starting with an accapella Beach Boys tribute and ending with an 11 minute, 115 track song to cap the album off, the result is an album that, while not as golden as Mmhmm, is still satisfying.
Why then, does rk still suffer the youth band stigma? Well, part of it is that youth groups still love them. Even though their lyrics are much more meaningful than almost every other pop, punk, or pop/punk band, Relient k still often plays in a pop/punk style. And while they are now popular in the mainstream, they were popular enough before Mmhmm came out that they still need to throw some "Christian era" hits at the most devoted fans (I've seen them five times. I've heard "Sadie Hawkins Dance" and "Chapped Stick, Chapped Lips, and Things Like Chemistry" all five times.)
The other reason that I think that Relient k is still shunned by many music snobs is because, once upon a time, the snobs heard one or two songs by Relient k and hated them and have since hated the band for all eternity. I wonder if the amount of people turned off to the band because of "Sadie Hawkins" is proportional to the amount turned on to them by the same song. I wouldn't be surprised.And, here's where I'll lose some of you: I like "Sadie Hawkins Dance" and "17 Magazine" and "Nancy Drew" and "Maybe It's Maybelline." They are fun, and many of them are witty in their own way. Not everything about "youth group" is bad y'know. You probably enjoyed it while you were there.
That wraps up the main bulk of what I wanted to write. But I'll leave you with ten songs of Relient k that you should listen to before you blow them off. Do with it what you will.
10. Hello McFly--self titled. This is the best song from Relient k's debut, back when their music was littered with old pop culture references. The lyrics aren't amazing or anything, but they are fun and clever.
9. For the Moments I Feel Faint--Anatomy of Tongue in Cheek. Worshipful song with evocative acoustic guitar, violins, and good vocals by lead singer Thiessen.
8. My Way or the Highway--Anatomy of Tongue in Cheek. Maybe I'm the only one who likes this song, but I like it, perhaps simply for the fact that the end is cool and the beginning contains the line "Add a cello here to add a sad impression".
7. Jefferson Aeroplane--Two Lefts Don't Make a Right, but Three Do. Still not really sure what this song is about, but it sounds great. If you can find it, listen to the demo on The Creepy EP. It's even better when done with an acoustic guitar.
6. Plead the Fifth--Five Score and Seven Years Ago. A short little song about the Lincoln assassination, done completely in accapella. Thiessen's favorite band is the Beach Boys, and you can tell here as they use their voices as the instruments.
5. I Am Understood?--Two Lefts Don't Make a Right, but Three Do. I've always thought that the lyrics to this song are beautiful. There's a small bit of poorly executed screamo at the end of the song, but other than that it is a wonderfully written song to a God who comprehends us all and still loves us anyway.
4. I So Hate Consequences--Mmhmm. Yeah, silly title, but a passionate, rocked out song about running from God.
3. Apathetic Way to Be--The Apathetic EP. Every single time I listen to this song, I like it more. This song really is Relient k's wittiest song ever, making fun both of people who care about nothing and people who care about everything.
2. Life After Death and Taxes--Mmhmm. RK's best concert song, with some of my favorite lines of any of their music. "This is how I choose to live, as if I'm jumping off a cliff, Knowing that you'll save me."
1. Deathbed--Five Score and Seven Years Ago. This is that huuuuge song that I referenced earlier on. This song is a powerful story of redemption, and, coincidentally, has John Foreman guest singing what are his most (only?) spiritual lines since before The Beautiful Letdown.
I can't say that I totally can blame them. If a ninth grader came to me and started raving about this cool band that she listens to in youth group, and "ohmigosh they are soooo hot!" 9 out of 10 times I'd tune them out. And yes, rk does have fans like that. However, 1 out of the 10 times (or maybe more than 10) there is some music worth listening to. Relient k is one of the 1's.
I first read about rk in some teen magazine. Later, I heard some of their music at, you guessed it, youth group, and I liked it enough to buy their second (and, at the time, latest) album, The Anatomy of the Tongue in Cheek. And yes, there IS a reason that youth groups like them, particularly their old music. Many of their songs are silly, and almost all of them are ridiculously catchy. And some of their early work (like "Breakdown," "Trademark," and much of the music from their debut) isn't really great quality. But even in the debut, some of Matt Thiessen's lyrical creativity was hinted at, and Relient k continued to improve album after album.
Then they made Mmhmm, their fourth album. Musically, it rocked at precisely the right moments to rock and it slowed down and coasted at the precise moments it needed to coast. Thiessen's voice shined, and the songs melded together to form a coherent whole, while all sounding distinct from each other. Lyrically, Thiessen has (so far) never been better, writing clever and poignant lines to reveal a deeply personal and relatable album.
After Mmhmm, they followed it up with an EP and, this February, they released Five Score and Seven Years Ago. While lyrically not as strong as Mmhmm, it did have several strong points, and while they do not sound as comfortable as they did in Mmhmm, they have produced their most musically diverse album yet. Starting with an accapella Beach Boys tribute and ending with an 11 minute, 115 track song to cap the album off, the result is an album that, while not as golden as Mmhmm, is still satisfying.
Why then, does rk still suffer the youth band stigma? Well, part of it is that youth groups still love them. Even though their lyrics are much more meaningful than almost every other pop, punk, or pop/punk band, Relient k still often plays in a pop/punk style. And while they are now popular in the mainstream, they were popular enough before Mmhmm came out that they still need to throw some "Christian era" hits at the most devoted fans (I've seen them five times. I've heard "Sadie Hawkins Dance" and "Chapped Stick, Chapped Lips, and Things Like Chemistry" all five times.)
The other reason that I think that Relient k is still shunned by many music snobs is because, once upon a time, the snobs heard one or two songs by Relient k and hated them and have since hated the band for all eternity. I wonder if the amount of people turned off to the band because of "Sadie Hawkins" is proportional to the amount turned on to them by the same song. I wouldn't be surprised.And, here's where I'll lose some of you: I like "Sadie Hawkins Dance" and "17 Magazine" and "Nancy Drew" and "Maybe It's Maybelline." They are fun, and many of them are witty in their own way. Not everything about "youth group" is bad y'know. You probably enjoyed it while you were there.
That wraps up the main bulk of what I wanted to write. But I'll leave you with ten songs of Relient k that you should listen to before you blow them off. Do with it what you will.
10. Hello McFly--self titled. This is the best song from Relient k's debut, back when their music was littered with old pop culture references. The lyrics aren't amazing or anything, but they are fun and clever.
9. For the Moments I Feel Faint--Anatomy of Tongue in Cheek. Worshipful song with evocative acoustic guitar, violins, and good vocals by lead singer Thiessen.
8. My Way or the Highway--Anatomy of Tongue in Cheek. Maybe I'm the only one who likes this song, but I like it, perhaps simply for the fact that the end is cool and the beginning contains the line "Add a cello here to add a sad impression".
7. Jefferson Aeroplane--Two Lefts Don't Make a Right, but Three Do. Still not really sure what this song is about, but it sounds great. If you can find it, listen to the demo on The Creepy EP. It's even better when done with an acoustic guitar.
6. Plead the Fifth--Five Score and Seven Years Ago. A short little song about the Lincoln assassination, done completely in accapella. Thiessen's favorite band is the Beach Boys, and you can tell here as they use their voices as the instruments.
5. I Am Understood?--Two Lefts Don't Make a Right, but Three Do. I've always thought that the lyrics to this song are beautiful. There's a small bit of poorly executed screamo at the end of the song, but other than that it is a wonderfully written song to a God who comprehends us all and still loves us anyway.
4. I So Hate Consequences--Mmhmm. Yeah, silly title, but a passionate, rocked out song about running from God.
3. Apathetic Way to Be--The Apathetic EP. Every single time I listen to this song, I like it more. This song really is Relient k's wittiest song ever, making fun both of people who care about nothing and people who care about everything.
2. Life After Death and Taxes--Mmhmm. RK's best concert song, with some of my favorite lines of any of their music. "This is how I choose to live, as if I'm jumping off a cliff, Knowing that you'll save me."
1. Deathbed--Five Score and Seven Years Ago. This is that huuuuge song that I referenced earlier on. This song is a powerful story of redemption, and, coincidentally, has John Foreman guest singing what are his most (only?) spiritual lines since before The Beautiful Letdown.
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