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--------Untitled--------
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JESUS FREAK HIDEOUT
Sometimes there can be an almost-tiring amount of hype about a new artist. Unfortunately, it's not too often that a band can live up to such high standards that they are given. But with this new-to-the-states act, The Benjamin Gate, these South African natives have debuted with a record that definitely lives up to the hype.
In 1998, a musician named Ben was tragically killed, prematurely at the age of 20, in an automobile accident. Some of Ben's friends joined together and formed a musical act that was partly in his rememberence, and part a personal wake-up call. "The death of our friend Ben just made us re-evaluate life," 19-year-old lead singer Adrienne Liesching explains in a recent bio. "It made us want to do something of importance, rather than sitting around all day." That group later became The Benjamin Gate. The name is quite symbolic. It partly pays tribute to their friend Ben and is a metaphor for the group's mission. "The actual Benjamin Gate was one of the original gates in the walls of ancient Jerusalem that they used to herd the young sheep through," explains the band's drummer, Brett Palmer. "For us, that directly relates to youth, and our music being a gateway between the church and the world."
["untitled"] kicks off with "How Long," a groovaliscious hard pop/rock tune driven by a heavy bass and droning guitars with Adrienne's deep melodies floating through the song. "Scream" begins with thumping drums and Adrienne's more passionate vocal melodies. It's clear from the start of the record where this group's heart lies. As Liesching cries "You know I'm calling out Your name... We scream out 'Oh Jesus come down, reveal Your holy crown to me!' in "Scream," it's easy to tell the band doesn't take their faith lightly.
The band proves to be quite versatile as the move into the faster-paced radio-friendly "All Over Me," and Adrienne's vocals become a little more reminiscent of that of the Cranberries in the chorus of "Heaven." "Lay It Down" is a more aggressive cry to those in trouble to just lay their burdens at Christ's feet. "Nightglow" presents a fast-paced upbeat techno beat featuring a lighter, more softer vocal cry from Liesching. "Secret" is the only true ballad on the project, showcasing Adrienne's beautiful melodies accompanied by a peaceful piano melody as she sings her prayers to Jesus. The album closes with the anthem-like "Live Out Loud," with it's humming guitars and slow drum and bass groove.
The only thing that may have made the album even better would have been a little less polish to the sound. Some of the songs may have benefited better from having a more raw sound with the guitars turned up slightly louder. However, the way it is presented allows Adrienne's voice to have the spotlight it deserves. But the Benjamin's Gate debut is the kind of pop/modern rock album the Christian music scene has been looking for. It's about time we were given the tasty sounds of the Benjamin Gate.
5/12/01, written by John
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www.jesusfreakhideout.com
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PHANTOM TOLLBOOTH
The best word I can think of to describe Untitled, the debut project from South African rock band The Benjamin Gate, is a rather nondescript word- "cool." Yes, Untitled is very, very cool. The Benjamin Gate's sound is very European, and this album is one of the freshest CD's to come out in quite some time. The Benjamin Gate sounds very unique, and the closest thing I can compare them to is Chasing Furies, although they also remind me of the Cranberries, Luna Halo, or SCSI at times. With heavy bass and a plethora of guitar effects, the music is melodic and yet very noisy.
Perhaps my favorite aspect of this album is the fantastic rock 'n' roll voice of 19 year-old lead singer Adrienne Liesching. Her vocals are so unique and powerful that one cannot help but enjoy them. Her voice goes from deep and melodic (on "All Over Me") to aggressive and rock star-ish ("Lay It Down") to haunting, Dido-esque ("Halo").
The variety on Untitled is incredible. "Nightglow" is a European techno/dance song, while the thrashing rock song "Rush" features a brief rap interlude, and "Hands" is a thoughtful piano ballad. Many of the songs, however, such as "Scream," "Blow My Mind," and "Live Out Loud," are straight up modern rock.
The lyrics are generally worshipful with a level of poetry and introspection in Liesching's lyrics that I enjoy. With high doses of originality, good lyrics, great rock music, and excellent vocals, this is one record that any rock fan's collection is incomplete without.
Josh Hurst 10/17/2001
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The problem with reviewing this CD is that this band is trying to actually do something a little different from most other bands. Sure, there are lots of female-fronted rock bands, but few lead vocalists have a set of pipes quite as strong as young Adrienne Liesching. Not many straight-up rock bands mix quite so much electronic noise into the songs to create a soundscape quite this lush. Producer Quinlan deserves kudos for his work on this project. Picture a harder-edged Plumb, with better singing, and you're part of the way there.
Lyrically, this album is direct and bold with its statements of hope and faith in Christ. The first radio single off this album, "All Over Me" perhaps best demonstrates the overall tone of the album.
Wave come, wave fall
Cast me on your broken shore
Sun come, sun fall
Cast me on your love so warm
Jesus' love is, Jesus' love is
All over me
There is a good use of poetic imagery throughout. As mentioned before, there is a definite electronic influence on the otherwise fairly straight hard-rock stylings. However, one of the best tracks on the album, the sparse, beautiful "Hands" is just Liesching on voice and some piano with some minor synth work. Here the full range of Liesching's vocal expression has room to stretch in a way that the rockier stylings don't usually permit.
Other tracks which stand out include "Rush" which features Liesching rapping Psalm 1 over the end of the song, "Lay It Down" with its intense chorus, and the hidden track on the cd, which is actually worth the lengthy wait after track 12.
For an introductory album, this is an exceptional one, largely on the strength of the vocal work and the solid pop sensibilities of the music. If The Benjamin Gate continues to grow and develop, this could be one of the more important bands of the first decade of the 21st century.
Alex Klages 12/1/2001
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CHRISTIANITY TODAY
Sounds like … intense modern rock piled with wild guitar effects—think Garbage, The Cranberries, or early Plumb.
At a Glance … though sometimes a little weird and a lot noisy, this is a pretty solid modern rock debut. Should appeal to the younger audience they're trying to reach.
Are you like me? Do you find yourself missing the modern rock sound of the band Plumb, especially that of their 1997 debut album? Now that lead singer and songwriter Tiffany Arbuckle is without a label and has recently married, the future of Plumb seems more dubious than ever. Though Tiffany assures fans that a new album will come, I won't hold my breath just yet. Fortunately, while we wait for a new Plumb album, you may want to check out The Benjamin Gate, a modern rock band hailing from South Africa that shares the same heavy electric guitar and effects-driven modern rock sound as Plumb, not to mention mainstream rock band Garbage. The band's name comes from ancient Jerusalem, where The Benjamin Gate was one of the gates in the city wall used to herd the young sheep through. It's a metaphor for the band's mission to lead today's youth to Christ. I can explain their excellent band name, but I haven't a clue why they actually called their album Untitled (or, for that matter, why they chose a gas mask symbol to grace the album packaging and serve as the band's emblem).
Some of you may already be familiar with The Benjamin Gate, especially if you heard the recent Forefront release Eterne, an international modern worship album that featured their song "I Will Never Be the Same." The music on Untitled is much edgier and louder than that song implied, yet it's still very melodic and accessible. The Benjamin Gate's first single is "All Over Me," a driving rock song that sounds like recent Plumb and even some of the songs on Katy Hudson's recent debut. "How Long" is very dark on the verses, building to an almost anthemic and joyous chorus that passionately yearns for the Lord's return. Even more passionate is "Scream," a prayer that expresses our desire to be covered in God's love. The song is a loud and edgy expression of the impatient groans this world makes in anticipation of Christ's return, yet thankfully it's never as loud as the title implies.
Nineteen-year-old lead singer Adrienne Liesching (pronounced "leashing") has an excellent rock voice that's often as strong as Shirley Manson (Garbage) or Tiffany Arbuckle (Plumb), yet can also be as ethereal as Sinead O'Connor or Dolores O'Riordan (The Cranberries). The instrumentalists of the band are also excellent, featuring a strong rhythm section layered with two "wall of sound" styled guitarists who are very good at creating interesting effects through their guitar processors. My only gripe with Untitled is that it rocks a little too well. I love good modern rock, and Untitled is filled with it, but at times the guitar effects are a little overwhelming and the album almost never lets up. I'd say 11 of the 12 tracks could be called rock, and most of those could be considered hard rock. Some of the more intense songs such as "Lay It Down" and "Rush" can take a lot out of the listener. When "Hands" finally comes up on the player, its gentle ethereal piano sound is like the calm eye of a storm (with its worshipful plea for grace) in the midst of a hurricane of guitar squeals and distortions. In that sense, The Benjamin Gate is indeed a lot like The Cranberries—sometimes beautiful, but often extremely noisy.
On the other hand, if you prefer your albums driving in intensity (grabbing you by the ears, throwing you around the room, and never letting go), you're going to enjoy Untitled that much more. (I prefer the album in small doses myself.) The band describes their music as "extreme worship," an appropriate description since the music is definitely both extreme and vertically oriented, though I suspect many will question if this music can truly be used as worship because it's so intense. I would warn away those who have heard "All Over Me" on the radio and think it to be one of their louder songs, since it's actually got a "lighter" sound by comparison. Otherwise, if you know what you're in for, I encourage you to check out the professional and edgy sound of Untitled. With this strong debut, The Benjamin Gate is certain to build an audience in the youth they seek to lead to Christ.
by Russell Breimeier
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www.christianitytoday.com
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CCM PLANET
The Benjamin Gate, put simply, is the hottest new act in Christian music today. Their music is strikingly original, deeply passionate, and rocks hard with the best of other bands in the genre. The Gate crew is doing what few bands in Christian music dare to do - laying themselves completely on the line for God with extreme conviction and aggressive faith. If you enjoy edgy pop or alternative rock (compare artists Skillet, Rebecca St. James, Plumb), you won't want to miss this debut.
The Benjamin Gate burst into the US Christian music scene early in 2001, surprising consumers and industry veterans alike. The highly acclaimed emotion-filled sound of The Benjamin Gate arises from the band's origins. Friends and bandmates from Port Elizabeth, South Africa, the Gate crew united when their friend (20-year-old musician) Ben was tragically killed in a car accident. Mourning his loss, they came together to pay him tribute and to make a personal reality check. 'The death of our friend Ben just made us re-evaluate life,' lead vocalist Adrienne Liesching explains. 'It made us want to do something of importance, rather than sitting around all day.'
The Gate's songs mostly share an electrifying, groove guitar-based sound with thrashing drum beats, atmospheric synths, and Liesching's stylish, nearly-signature vocals. It's a very futuristic sound that's never quite been done in the alternative rock genre before. At the same time, the lyrics are very worshipful and intensely spiritual. One of the most impressive things about this CD are the lyrical themes that progressively develop throughout, and this is immediately obvious in the first three tracks. The opening track 'How Long' sets the mood and pace of the CD with oscillating guitar riffs, steady drums, and an anthemic chorus: 'How long can we wait, will we wait for You to come / And lay ourselves down before You / (How long).'
Track 2, 'Scream,' as the title implies, aggresively pushes up the alternative rock factor with echoing, raging electric riffs. Lyrically, it continues the theme of the first track and communicates a sense of even more desperate longing: 'I want to be swallowed up by love ... You know I'm calling out Your name ... We scream out / Oh Jesus come down.' The song is short, but Liesching's vocals fade off nicely into a deep, moody guitar ambience that carries on for well over a minute, closing the track off appropriately. Track 3, 'All Over Me,' is one of the best songs on this CD with its many intricate sliding, echoing guitar riffs (perfectly crafted) and an extremely catchy melody. Liesching's vocals are captivatingly beautiful (especially highlighted when the guitars quiet down mid-song), and the brilliant vibe created by the music perfectly matches the uplifting lyrics: 'Jesus' love is, Jesus' love is / All over me, all over me / Your love is all over me / All over me, all over me / Your love is.' It's the thematic culmination of the first three tracks, testifying to the ultimate comfort of God's graceful love.
After a great deal of rocking tracks in vein with the openers (all thoroughly enjoyable), 'Hands' is a beautifully fresh breath with quiet synths and a stirring piano-led melody that reveals Liesching at her most intimate: 'God I seek Your face / Let Your spirit rescue me / God I need Your love / Let Your grace shine through me.'
Brandon Klassen
© 1995-2004 CCMplanet, all rights reserved.
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www.ccmplanet.com
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--------Contact--------
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JESUS FREAK HIDEOUT
May 2001 introduced us to the power hitting moody sounds of The Benjamin Gate. Straight from South Africa, the quintet quickly became known for their more unique sound and presence. Their debut album ["untitled"] became a favorite of the year's new artists and the CCM scene welcomed the group with open arms. In just a little more than a year since their debut release, The Benjamin Gate offers a second helping of Gate goodness with Contact.
At first listen it's clear the band is already headed in a slightly different direction. Not exactly the leap that Skillet made from their self-titled grunge record to the electronic rock of Hey You - I Love Your Soul, Contact introduces a less aggressive approach than their debut. This is evident in more radio friendly pop opener "Lift Me Up." "Need" and "Do What You Say" are two tight rock songs reflecting similar sounds to previous Gate recordings, and serving as significant album highlights. The addictive twist known as "Overkill" uses an infectious bass beat to break open the track forming another highlight as lead vocalist Adrienne's soft vocals glide through the song's opening. The relevant and all too easy to relate to message of worrying too much will hit home with the listener making "Overkill" all that much easier to listen to.
"The Way You Are" is a good praise song that has thankfully been updated from its six minute plus long length to a more listening friendly, less repetitive pop rock song. Unfortunately, not all the songs made a smooth transition from the prerelease to the final and regretfully "The Calling" is Contact's greatest casualty. It's original guitar-driven intro has been replaced by a watered down radio friendly opener. However, in an attempt for redemption, the original version has been tacked onto the end of the record tucked away behind "Fall Away."
The Benjamin Gate release an even stronger album with Contact than their impressive debut. Although not perfect, Contact is one of the best modern rock albums of 2002. Don't miss this one on July 2nd.
6/12/02 (updated 6/25/02), written by John
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PHANTOM TOLLBOOTH
More often than not, the album following a break-out debut is greeted with a combination of hopeful anticipation and guarded optimism. While such reservation is largely the domain of those whose job it is to critique such things, the pragmatic viewpoint does hold water when one considers the seemingly infinite supply artists who, after generating stellar first efforts, either resorted to endless lesser imitations of the original or faded from the public view altogether. Hailing from Port Elizabeth, South Africa, the members of the Benjamin Gate hit the ground running with their inaugural outing. Fueled by its driving rhythms, mercurial guitar work and heartfelt vocals, Untitled gained significant commercial and critical success, vaulting each of its three singles into the Top 5 on the rock chart and pulling down Dove nominations for Modern Rock Song, Album and Video of the Year.
From the first strains of Contact, it's clear that the energy and passion that fueled the first record made the trip to the second album. Songs like "Need" and the album-opening "Lift Me Up" attach the group's characteristic verve to a ballast of driving modern rock, while the slightly syncopated "Do What You Say" leans more towards the trip-hop flavorings of the first Plumb release. The prominent synthesizer flourishes and hiccupping start-stop dynamics of "Fall Away" reflect everything uniquely engaging about Missing Persons' cache of idiosyncratic early '80s new wave artifacts. And "Overkill" attaches the endearingly quirky tension and paranoia of the Men at Work original to a lumbering, bass-heavy hulk that clears a path every bit as wide as that of its musically frenzied forerunner.
In much the same way, the lyrical side of Contact shadows the debut by virtue of its straight-on delivery and mostly vertical slant. Entries like "Need" (I want to be/ So close I disappear into you) embody the passion and immediacy that stamp the lion's share of the group's writing. "Your Kisses Blind Me" (Beautiful you are to me/ Moon above a raging sea/ Flame of fire inside of me), on the other hand, opts for pictorially rich prose and an almost nursery rhyme cadence, with equally shimmering results. "The Way You Are" (The way you are/ Couldn't bring more joy/ Couldn't free me more to live) employs similarly romantic phrasing for its stirring relational celebration, while "Light" (I'll be your/ I'll be your/ I'll be your light) chooses to hammer its point home through simple repetition.
Where Untitled was a mostly ambient affair, replete with heavily distorted guitars and swirling, atmospheric backdrops, Contact sports a decidedly rawer, more organic texture. But, even stripped of the sonic accouterments that informed the debut, the tracks on the sophomore album compensate with a heightened attention to hook and melody that catapults them well out front of their predecessors. And the less embellished approach lends the new release an engaging sense of spontaneity that makes its tracks sound as if any one of them could have been captured on the first take. Indeed, from almost every angle, the new record outdistances its imposing forebear. If Untitled was a sparkling collage of aural textures and loops to stand back and admire, Contact stands as a gloriously rollicking roller coaster that scoops the listener up with its opening notes and hurls them across a magnificently dizzying course from start to finish.
Bert Gangl 6/2/2002
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CHRISTIANITY TODAY
Sounds like … solid guitar-driven modern rock a la Garbage, Plumb, Lush, and the Cranberries.
At a Glance … The Benjamin Gate improves upon the thick rock sound of their debut by taking a slightly less dense, more raw and straightforward approach to their music.
Ah, the noisy sonic bliss that is The Benjamin Gate! Since their 2001 international debut, untitled, this South African band has seemed to make all the right moves. With an aggressive female-fronted modern-rock sound that's still relatively unique to the Christian music scene, untitled garnered four Dove Award nominations and cemented The Benjamin Gate as one of the strongest Christian bands on the block. (With the recent success of the rock worship band Tree63, perhaps this is the beginning of a South African invasion!) The Benjamin Gate's new project, Contact, can best be described with the word focus.
With their first album, The Benjamin Gate presented a hard-hitting, guitar-driven, modern-rock style with melodic hooks and a wall of layered sounds that often drew comparisons to Plumb, Garbage, or a harder-rocking version of the Cardigans. With Contact, the band begins with the sound of untitled and develops it further. The ethereal keyboard sounds and drum machine programming that identified untitled with the rave/rock style are toned down, making way for a more raw and straightforward rock sound. Guitarists Marc Pautz and Chris Poisat are still as creative with their effects processing as ever. And Lead vocalist Adrienne Liesching still sounds like Dolores O'Riordan (Cranberries) or Tiffany Arbuckle (Plumb), though on this sophomore release her voice seems stronger, edgier, and more mature.
The Benjamin Gate's enveloping wall of sound, which was a distinguishing element on their debut release, sounds restrained here, calling more attention to the direct vocals, fuller drums, and thicker bass lines. The hooks for much of the tracks on Contact are more creative, using chord progressions that are more interesting and pleasing to the ear, particularly on the songs "Lift Me Up," "The Calling," "Overkill," and "Violently."
The band has grown lyrically on Contact, focusing less on praising God and his works and more on the human struggle to relate to each other and to God. "Lift Me Up" is a fabulous rock opener, which, of the new tracks, most resembles the lyrical persuasion of untitled. "This Is Not" speaks of the fruitlessness of selfish pursuits in life. The Gate provides a tribute to creative and talented Christians everywhere in "The Calling," encouraging them to keep dreaming and not to be afraid to use their abilities to achieve their potential. "Do What You Say" is a sassy lyric that asks Christians to agree to disagree on trivial points that can trip us up and unnecessarily divide us. "Overkill" attacks needless anxiety in our lives, "Need" expresses the desire to be close to God in order to understand the truth, and "Tonight" is a call to action to let our light shine before those who don't yet know Jesus. Perhaps the best track on the album is "Violently," which has a great melodic hook and serves to motivate listeners to fight against evil in order to seek after God, saying, "Got to fight till we reach you/Got to reach till we find you."
You could say The Benjamin's Gate's musical arrangements and lyrics are inextricably linked. The lyrics on untitled were largely vertical and were emphasized by an atmospheric sound with layered background vocals. The varying styles on the album helped convey God's all-encompassing nature. In the same way, the more horizontal lyrics of Contact are emphasized by a more straightforward and organic rock sound. This shows that The Benjamin Gate was focused on their artistic development by understanding how their style accents their lyrics. They've shown that they're not afraid to wade into new territory and that they're savvy enough artistically to be fresh without being drastically different. Contact is a strong sophomore outing, with The Benjamin Gate taking a fresh and creative look at themselves and the world around them.
-- Jim Perry
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CCM PLANET
Perfectly mixed and flawlessly executed, Contact is a sound revolution, a refreshment to spirit and mind ... an album of driving modern rock anthems filled with passion and emotion that you couldn't possibly play loud enough.
It sometimes seems impossible for a band to release a sophomore album that, in all respects, lives up to the quality of their debut and to the expectations of fans as the record label hypes the project. If that is true, then The Benjamin Gate meets the insurmountable head-on, deftly scaling the obstacles of pressure to innovate and media criticisms as if they were rubble on a path instead of mountains. With seemingly effortless ease, the Benjamin Gate pounds out one hit after another until, slightly stunned, you'll reach out and push 'play' to start the disc again.
Contact is a disc you couldn't possibly play loud enough. Brilliant sonic melodies, guitar-led, burst open and streak like burning stars in a night sky showering down streams of sound and light, weaving their way around the twists and turns of lead vocalist Adrienne Liesching's passionate vocals. Musically, Contact features the same driving ambience as Untitled, but this time the hooks are catchier, the beats are tighter and the raging musical landscape has the power to all but encompass you like a deep ocean. Lyrically, Contact takes the themes of Untitled and pushes them deeper, closer to heart. As Untitled called in yearning to God with the love songs of discovery, Contact speaks of perseverance and joy through the struggles of daily life with God as our ultimate strength. Liesching's flair for delivering simple but extravagant lyrics with emotion and passion blossoms on this album, making every track unforgettable.
Contact opens with its strongest tracks, and the first track 'Lift Me Up' is the jewel of this album, sure to do for Contact what 'All Over Me' did for Untitled. Layers of pulsing rock guitars race under crystalline synth notes, the echoing oscillations of clean lead lines and Liesching's agonizingly beautiful voice, depicting scenes of eternity and a cry to be set into motion: 'Fall away from home / But baby I'm not alone * Lift me up, turn me around / Gotta get my feet off the ground ... And every day away hurts a little more.'
Track two, 'Need', carries the catchy groove even more impressively so you'll probably have a hard time deciding whether you like the first or second track more. With a rhythm defined by the drums as opposed to the guitar rhythms of the first track, the sometimes-screaming guitars slide through stirring, lonely chords in tandem with angelic background voices in the bridge. Powerful remix potential? Oh yeah! Searching for belonging, the realization of personal revolution is found in surrender: 'Doesn't matter what I try and do / You show me what is real and true / The person that I hope to be / Not bound by anyone's opinion / A person with history / Moving to my destiny * Whatever I'm needing / Whatever I'm feeling / I give all to You / I give all to You.'
Track four is a cover of the Men At Work song 'Overkill,' boasting the full range of Liesching's voice as she strolls through ringing electric lines, echoing background vocals and hammering drum rhythms contemplating the stresses of over-worrying about situations: 'Especially at night / I worry over situations / I know will be alright / It's just overkill * Day after day it reappears / Night after night my heartbeat shows the fear / Ghosts appear and fade away.'
With every track, The Benjamin Gate's heart-rending melodies and Liesching's transparent outpouring of her soul become more endearing. For that reason, it's hard to pick just a few more highlights that define this album. Track five 'The Way You Are' is notable as the longest track on this album and an odd lyrical mixture of exuberant joy and regretful mourning. Praising God, there's contentment and release in His love: 'The way You are, the way You are / Couldn't bring more joy / Couldn't free me more to live.' Then, the mood of the track shifts and it closes with two minutes of intimate worship, a seeming confession to human shortcomings by simply repeating 'the way You are' amidst distorted guitar reveries. To pick only one more favorite track on this disc (impossible, I assure you), 'Tonight' is a sure choice. It's a modern rock anthem for the church that thematically sums up a lot of the ideas on this album, emphasizing the importance of Christian unity in lifting each other up. Liesching is as mesmerizing as ever as she cries: 'Tonight / Tonight / Tonight / Tonight ... Come join me brothers, sisters / Bring your children too / We will stand together / Our faith will bring us through * I will light my candle / And burn it bright in an endless night / I can handle, I can / Burn it bright in an endless night.'
After some 44 minutes of pure energy and joy, The Benjamin Gate still has a few surprises in store to make sure this disc is really the best it can be. In today's world of mass-produced 45-minute pop discs, it's rare for a band to put the extra effort in, but that's just what The Benjamin Gate has done. To start off with, there's a hidden track at the end of the disc, which is a different, rocked-up mix of 'The Calling'. Next, this CD will have an Enhanced CD-ROM portion - a great option for bands to give extra material to their fans that's not used as often as when the technology was first developed. The content here will include a photo gallery, wallpapers, screensavers, instant messenger buddy icons, and the music video for 'All Over Me'!
Brandon Klassen
© 1995-2004 CCMplanet, all rights reserved.
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www.ccmplanet.com
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