2017 was, in many ways, a year of lamenting, both within the music industry and about the music industry. Many of our staple “heavyweights” in Christian music released albums in 2016, which meant that 2017 was truly a year for indie artists to step up to the plate. Thankfully quite a few did, as evidenced by our staff’s overall and individual top ten lists. Here are my personal picks for the top ten albums of 2017, along with the reasons why I chose them:
- Mortal Ghost, Rusty Shipp – I didn’t go on vacation to the Jersey Shore this past summer, and I missed the beach terribly. Thankfully it was around this time that Michael Weaver’s review for Rusty Shipp’s albumMortal Ghost was posted, and after reading his positive feedback as well as some comments from our readers, I decided to give the album a spin–and it was honestly one of the best decisions I made in 2017. From the Muse-esque intro “Sea Sentinals” to the epic closer “Davy Jones,” this album truly transported me to the nautical place I longed for, and the production values were top notch. This became my go-to album for this year, and my most-played. I went on to interview Russ T. Shipp for our site and asked him all my burning questions about this album. Lyrically and musically, it’s just satisfying all-around, and still maintains spiritual substance throughout.
- Can’t Curse The Free, Jetty Rae – My interest in this album piqued when Jetty Rae posted about the production process on Facebook, and how this album had a much different sound from her previous ones. I managed to get an advance copy for my review, and I was so impressed with how well-executed this new sound was. There’s an earthiness to it, yet it’s also ethereal. Like I said in my review, there’s just something very “American” about the sound, because it composites different musical styles that started and evolved in the US. The story behind the album is even more compelling–Rae wrote these songs while traveling around the US with her family in an RV, and during this time her father was sick with cancer. Seeing the rugged landscapes while weathering emotional turmoil stirred Rae’s songwriting in a new direction, and this is Rae at her most soulful and raw. Tracks like “Can’t Curse the Free” and “Still Gotta Fight It” were particularly encouraging to me this past year.
- Crooked, Propaganda – After hearing several of my JFH colleagues rave about this album, I decided to give it a listen–and it was a tour-de-force. This was one of my favorite albums to listen to during my commutes on the subway, because I would people-watch as I listened. It’s a long album–I only reached the end once or twice–but it moves quickly. The mixing in this album is superb (kudos to Beautiful Eulogy who co-produced this album), and the first time I listened to “Gentrify” I looked around the subway car to see if there was a man yelling in Spanish. That’s how much detail went into the mixing process on this record. I’m not as familiar with Propaganda’s catalog as my staffmates, so I didn’t compare this album to any of his previous ones. Overall, I was impressed by the amount of pop cultural and historical references that were seamlessly incorporated into the lyrics, and how each song emotes differently from the others. Propaganda doesn’t waste time on bravado or critiquing the rap industry and its critics–he’s looking at the bigger picture, at our nation and at the world, and he raises thought-provoking questions about what he sees, instead of telling us the answers.
- We Are Fearless, Fearless BND – It’s rare for an album to “grow” on me–I usually don’t listen again after a bad first impression. However, because I volunteered to reviewWe Are Fearless, I had no choice but to listen to it multiple times to give it a fair review. Nobody was more surprised than I was but my turnaround in opinion–with each listen, I succumbed more and more to the earworms present here, and found myself tapping my toes to the beats and moving around to the synths. It’s a joyous and reverent affair, yet it still has the commercial production values to rival anything on current pop radio. Stylistically, it’s the antithesis to The Porter’s Gate’s Work Songs (which I’ll get to next). This album is all about pushing the boundaries of electronic worship, while still sounding cohesive and catchy. The only exception is the track “White Flag,” which still incorporates synths after the halfway mark. What I enjoyed most about this album was that it made me want to get up and dance, and this buoyancy helped brighten those difficult winter commutes back in January and February. Sidenote: it would be interesting to hear these songs reinterpreted in an acoustic setting (Fearless BND–if you’re reading this, that could be an EP idea for 2018).
- Work Songs: The Porter’s Gate Worship Project Vol. 1, The Porter’s Gate – This was a late discovery for me, one of those albums I listened to while I was compiling my top ten list for the end of the year. I listened through it during a commute home on the express bus, so I got to watch some scenery while I listened. It felt cinematic–the opening track is mesmerizingly beautiful, with Madison Cunningham’s clear voice almost whispering over an acoustic guitar. The organic instrumentation and raw vocals on this album ushered me back to the church days of my childhood, when we’d sometimes have services where we sang “the choruses” acapella, yet it was still anointed. The fact that this album was recorded live raised the stakes for the performances, and the result is, like us, perfectly imperfect and beautifully flawed. The songs feel more genuine than they would have in a studio setting. There’s also a slightly retro gospel sound to these songs, and if you enjoy the music of The Followers, you’ll enjoy The Porter’s Gate’sWork Songs as well.
- I Quit Church, Matt & Toby – When I first heard about this project, my initial thought was “Is this going to be ironic?” Matt & Toby’s reputation precedes them, and I was expecting this to be a scathing critique on the hypocrisy of church culture (which, in many ways, would be justifiably warranted). I know people who have “quit church,” saying they can’t stand the preaching, or the people sitting next to them, or the music being played during worship. Surprisingly, though, this album is much more reverent than I anticipated, and I was blindsided by how emotional I became while listening. The traditional hymns are given new shape and life in this album, and I liked Matt & Toby’s decidedly retro, laid back sonic interpretation of them. This is an ideal album for driving at night, but be warned, it hits you hard in the heart. The original songs on this album loosely shape its “narrative,” about someone leaving church, and later his pastor visiting his home to ask him to return. What happens from there is left up to the listener to imagine. The point of this album is not to tell us about all the things that are wrong with today’s churches–instead,I Quit Church redirects our attention to why we go to church in the first place–to seek God, to worship Him, to hear His Word, and to collectively encounter Him with other believers.
- Lifer, MercyMe – The Reinvention Award of 2017 would have to go to MercyMe. Admittedly, I’m not well-versed in their back-catalog, save for one album and some radio singles. But I know for certain that I would never associate words like “funky” or “swagger” with their music.Lifer turns listeners’ expectations upside down–MercyMe has made an album we can dance to, and not just in the boot-stomping way we did with their previous efforts. The opening title track sounds like something Bruno Mars would release to top 40 radio, and I mean that in the best way possible. The brass, the synths, the guitars, the bass–everything here is working in tandem to create what is arguably the catchiest MercyMe song of all time. There are other standout tracks–the guest appearance of rapper John Reuben in the groovy “Grace Got You” is a pleasant surprise, “Even If” is one of the most honest Christian songs about keeping faith in God, and “We Win” makes me cry happy tears when I listen to it. Overall, this was a standout effort from MercyMe, and it’s put them in the musical forefront for me.
- Projections, Landry Cantrell – One of my JFH colleagues pointed out to me that my 4.5 star review for Landry Cantrell’s album sounds more like a 4 star review when you read it. Nevermind what I wrote, this is a 4.5 star album. What I enjoyed most about Cantrell’s album is that is sounded fresh, yet relevant–it certainly ranks up there with what the secular market is putting out, from a production standpoint, but the lyrics and vocal delivery are heartfelt and genuine. There’s some nice, catchy, encouraging cuts on this record–the energetic and worshipful “Before You,” the finger-snappin’ “Fly,” and the Romans 8:38-inspired “Separate,” to name a few. “Indian Summer” is a beautiful love ballad, and the fact that it was a duet between Cantrell and his then fiance (now wife!) Kelsey Hicks makes it more special. I’m looking forward to seeing what Cantrell will release in the future, but for now, let’s continue to savorProjections.
- Where His Light Was, Kristene DiMarco – When I saw that Kristene DiMarco was releasing a solo album, I was concerned that it was going to sound too similar to her peers’ solo efforts. Thankfully, it does not–DiMarco’s style strikes a balance between the organic and the electronic, and while there aren’t any fast songs on this album, the album moves quickly. This is straightforward worship, with some anthemic moments (“Your Love Stand Alone,” “I Am No Victim”) and some intimate ones as well (“Never Ever,” “I Just Want to Worship”). I felt encouraged in my faith when I listened to this album, and it helped to be reminded that God is with me, that He won’t fail me, and that my identity is found in Him.
- Only the Lonely, Colony House – This was another last minute discovery for me, like The Porter’s Gate and Matt & Toby’s records. It’s unfortunate, considering that one of my JFH colleagues sent me a hard copy of this album earlier in the year, but I’m glad I finally got around to listening to it. This album brought me back to the indie rock I listened to when I was in college not too long ago, and also reminded me of the oldies I listened to in the car growing up, so the familiarity of the sound made me nostalgic. There’s some clever production choices on this album–the whistling leading into “1234,” the Black Keys-esque guitar and vocal effects in “Lonely,” the surf rock harmonies in “You Know It.” Pensive closer “This Beautiful Life” hits all the right musical and lyrical marks. I anticipate becoming better acquainted with Colony House going forward.
— Nicole Marie Vacca