Although our review below finds their next album to be short of a step
forward, there's no denying that Anberlin is one of the top bands these
days. Their debut, Blueprints For The Black Market, had some very catchy
songs that had me yearning for it without even thinking about it. And their
live show finds even more depth in the music. The band has been constantly
touring for the past couple years, opening for some of the biggest names in
mainstream rock as well as some Christian tours. So expect to hear more from
this band despite a sophomore disc that didn't completely live up to our
expectations.

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NEVER TAKE FRIENDSHIP PERSONAL - ANBERLIN (2005)
by Bert Gangl

When vocalist Stephen Christian and his cohorts in Anberlin marched out of
the proverbial starting gate in the spring of 2003, it was to nearly
universal critical praise. And rightly so. The band's debut album,
Blueprints for the Black Market, boasted a near-irresistible combination of
gritty hard rock vigor, heartfelt emo-tinged passion, bristling post-punk
attitude and a proficiency with hook, harmony and melody that would make
most power pop combos green with envy. Now, after nearly a two-year absence,
the Florida-based quartet has returned with its sophomore effort, the
curiously titled Never Take Friendship Personal.

Despite the exit of rhythm guitarist Joey Bruce in late 2003, the lion's
share of Friendship adheres fairly closely to the template laid out by its
respected predecessor. Indeed, songs like "Time & Confusion," "Stationary
Stationery" and "Paperthin Hymn" sound as if they could have been outtakes
from the first album. But while Christian & Co. manage to replicate
Blueprints' most overt sonic attributes fairly faithfully, those things
which made the freshman outing so revitalizing – the gripping tension of
"Change the World," the imposing majesty of "Glass to the Arson" and the
seemingly effortless joy of "Naïve Orleans" – are in somewhat shorter supply
this time around.

Lyrically, the new album, like the first effort, is somewhat hit and miss.
The rebellious undercurrent of "Audrey, Start the Revolution!" ("Amateur
youth / Sling down those signs / I've got your back if you've got my hand")
comes across as more affected than genuine. "Paperthin Hymn" and "Time &
Confusion" ("So promise me again / When memories fade / We've got each
other") are similarly cliché. "Dance, Dance Christa Päffgen" ("Don't need no
drugs / You're my chemical / Now I'm dependent / No, not cynical") plays out
as a sort of classic U2 redux, a la "With or Without You" or "Mysterious
Ways," minus the clever language. And the wording of songs like "The
Runaways" ("Distance is a thief in which you conspire / You're nowhere into
giving into me") is, more than anything else, simply awkward.

To its credit, the band's lyrical prowess has evolved somewhat. "A Day Late"
features an engaging account of inner conflict over a former friend's desire
for a romantic relationship ("I'm not who you recall anymore / But I must
confess you're so much more then I remember"). The post-breakup account of
"(The Symphony Of) Blasé" ("God, please take these feelings / My chest hurts
when I breathe tonight / It's wasting me away) is equally gripping. And the
title cut is a surprisingly level-headed and insightful look at a loved
one's decline and eventual demise ("The greatest tragedy is not your death/
But a life without reason").

Likewise, the group has made more than a few musical strides on the second
release. "Audrey, Start the Revolution" and "The Feel Good Drag" feature
nicely subdued touches of blues and, believe it or not, disco, which lend
Friendship a more varied sonic palette than its predecessor. The low, Duane
Eddy-inspired guitar riffs of the towering "A Heavy Hearted Work Of
Staggering Genius" likewise enhance the new record's diversity. "The
Runaways" is an utterly alluring blend of tunefulness and brawn. The high
school pep rally cheers of "Day Late" impeccably augment the song's already
high energy quotient. And the absolutely beautiful "(The Symphony Of) Blasé"
shows that Christian's powerful singing voice is as well-suited for tender
love ballads as it is for all-out rock numbers.

Even though the new album certainly features its share of missteps, none of
the complaints lodged above should be construed as incitements for complete
dismissal. Even at its most musically homogeneous, Christian and his
compatriots never turn in anything less than professional and utterly
rousing performances. And, after listening objectively to the Blueprints and
Friendship projects, one gets the feeling that Christian picks his words as
much for the way they sound as for their underlying significance – which
serves to make the new record's lyrical lapses a bit more forgivable.
Arguments that much of the group's catalog sounds a bit too much the same
are merited to a degree. And, indeed, the group would be well advised not to
go to the same well too many more times without bringing something new to
the table. As it stands now, though, the Floridian foursome can be well
pleased with a solid and stirring follow-up to the extraordinary inaugural
effort.

Read more about Anberlin at their official site:
http://www.anberlin.com/


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AVAILABLE TUESDAY, APRIL 12 (at cMusicWeb.com or your local music store)

HOW GREAT IS OUR GOD - PASSION
In January, 11,000 young people came together to worship and dedicate their
lives to God's work. Passion '05 also featured some new music, including a
song David Crowder and Louie Giglio penned just minutes before singing it.
There's some new and recent favorites from Passion's main players, Chris
Tomlin, Charlie Hall, and David Crowder, plus more from Matt Redman, Christy
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TALKING VOICE VS. SINGING VOICE - STARFLYER 59
Starflyer 59 is one of those bands that will never disappear. And while they
will most likely never really be a popular voice in Christian music, Jason
Martin and his friends have been making great songs. Talking Voice Vs.
Singing Voice continues the distorted rock sound that was found in I Am The
Portuguese Blues and reintroduces some of the pop programming and synth
sounds. Plus, as usual, Asterik Studios delivers some great album artwork.


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