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Sheri Carr (Varietal Records)

Read the original review here.

Records like this give me renewed hope in Vineyard Music. The church-based worship label is nowhere near what it used to be in the '80s and '90s, but its recent foray into more artist-driven projects through Varietal Records has injected new life into its contributions to congregations. For her part, Sheri Carr is something of a novelty in that she's one of a very few women singing a new song unto the Lord in a mostly male-dominated collegiate market. But don't think for a moment she lags behind in terms of energy and conviction. Carr is a fierce, fearless vocalist, and while her style may not always lend itself to congregational singing, she surely commands attention as she worships.

She certainly does, and for all the attention that artists like Sarah Kelly have received for their strong, passionate worship vocals, Carr deserves the same. It really is the first thing that pulls you in when listening to this album. But from there, she offers a varied range of musical styles, shifting between guitar rock ("Sing Your Praise"), Euro-pop ("This Heart of Mine"), and stripped down balladry ("Take Me to the Cross"). No, most of these songs probably won't become church standards, but they're still good and certainly in step with Vineyard's previous work. In terms of songwriting and performance, Carr is engaging enough to draw listeners into God's presence.

Charlie Hall (sixsteps/Sparrow Records)

Can I just start by saying how much I love this album? I've been waiting for Charlie Hall to break out with an anthem for the worldwide church, but I think he's finally figured out that he has more in common with David Crowder as a worship artist than Chris Tomlin or Chris Tomlin. This is probably is most artful and alternative sounding effort yet, perfectly matched to his passionate outpouring to our Savior. So while it's unlikely for these songs to be used in any but the most modern of worship services, as an album for private worship listening, it's dynamite from start to finish.

Part of it has to do with his collaboration with Michael Hodges, better known for his work with Evanescence. Together, they create some of the coolest ideas and sounds to arise from the ranks of modern worship—frenetic drum patterns, quirky synths, and otherworldly guitar parts are only some of the adornments that spice up the mix. The mood is certainly conducive to the thematic strains Hall wants to communicate: that some of the most awe-inspiring moments of worship come from the least becoming of places—beauty from brokenness, light from darkness, sanctity from depravity. Well done, through and through.

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