Halos + Lassos

Sounds like … collaborators Danielson Famile and Sufjan Stevens, but quirkier, plus some vocal and instrumental nods to the Flaming Lips, the Postal Service and Elliott Smith

At a glance … this impossibly peculiar yet incredibly cohesive disc is chock-full of glorious indie pop morsels that will challenge your notion of what Christian-themed music can be

Did anybody not know who Sufjan Stevens was by the end of 2005? The little-known Christian folk singer went from obscurity to ubiquity thanks to his magnum opus Illinois, a masterpiece that became the best-reviewed album of the year. That album opened the door for other avant-garde, faith-based musicians to be heard. Hailing from the same school of creativity as Stevens—and serving as trombonist for the folkster when he's on tour—Half-Handed Cloud (a.k.a. John Ringhofer) is ready to leave a mark of his own with the left-of-center Halos + Lassos, his fourth full-length album.

But the connection between Ringhofer and Stevens begins and ends there. Whereas Stevens' methodology shines best in dense, prog-folk settings, Ringhofer by contrast thrives in tiny, bite-sized morsels of indie pop glory. In fact, most of the songs on Halos + Lassos barely last over a minute, with some tracks melding right into the next to create an almost seamless listening experience. Ringhofer has an unorthodox sense of song structure, his mini symphonies never quite following a clearly defined verse-chorus pattern. Instead, his free-flowing spirit allows him to try virtually anything that tickles his fancy. A one-man band himself, Ringhofer also has an endearing, almost cartoonish voice, one so uppity, melodic and "cute" you can't help but listen.

Unlike the slightly more vague Stevens, Ringhofer comes across as more vocal and unapologetic about his convictions, which come through loud and clear without being patronizing or sanctimonious. In last year's Thy Is a Word, and Feet Need Lamps, Ringhofer felt a need to talk about foreskins and lasciviousness and other less savory Bible subjects. But in Halos + Lassos, he traces his own journey of faith, one that starts at the Garden of Eden and continues with Ringhofer's admission of his inadequacy, only to rely on God and praise him for his greatness in the end.

It's indeed an acquired listen, one that's ultimately sobering and rewarding once you realize that Ringhofer's quirky art isn't just a gimmick, but one that openly gives the glory to the God he serves.

Copyright © 2006 Christianity Today. Click for reprint information.