Shining a Light on Exceptional Christian Music

Concept albums are an interesting bunch.  They walk a fine line between overdone Broadway show theatrics and cheesy gimmickry.  On one hand, if we find no connection to the story, or the story is weakly written, we must be entertained by the music itself.  Conversely, if the story is good and we have an authentic connection, the music can move freely and in ways otherwise unexplored as it does not carry the weight of the story on its shoulders.

Now begs the question, is With Arrows, With Poise, the second album from Seattle-based band, The Myriad, a concept album?  That is, is there a story woven throughout these songs, and is the music strong enough to carry us along to reach the epic climax in the final movement?  Well, yes and no.  There is definitely a vague, open-ended story within the opening three songs which is then revisited every now and again.  However there are no characters here, rather, the protagonist is you and me, while the singer narrates and guides us on our journey.  Though I’m still unsure if we’re led anywhere.  Anti-climactic and unclear lyrics could be the downfall.

But there is good news!  The music on this album is more than good enough to carry us through.  There are some truly amazing moments, and the band does an excellent job driving us to the more poignant and thought-provoking places.

The music hits you in the face right from the start.  ‘You Waste Time like a Grandfather Clock’ gives pulsating rhythms and atmospherics, while toying with time signatures and invoking the idea that important things are happening and we are missing out.  We are challenged with:  “And if God could part the clouds, do you think He’d be proud?” Ok, so we need to make a change, but what do we need to do now?  The next song will tell us!

’Get on the Plane’ raises the tension quite a bit.  The drums pound away, ready to take off while the piano and who knows how many guitars refuse to resolve. As we desperately wait for lift off, we’re comforted by “If the sun comes up tomorrow, we’ll be fine. Get on the plane!!” Suddenly, after a loud crash we are floating in the air, greeted by some lovely strings and piano, as a chorus sings “They said we’d live forever!”

Bombastic piano chords with a matching guitar riff start off the third track ‘Forget What You Came For.’ The tune has an almost Mexican standoff feel that builds and builds until we hear: “Quit making noise and lend an ear to the silent voice.”  This is a very hopeful song to be sure, but in order to hold on to that hope we must do the impossible and “wait…give up what you love.”  Very diverse musically, this song does a great job wrapping up the opening trilogy.

‘A Clean Shot’ is straight up disco-rock (for lack of a better term) featuring the very catchy chorus that belongs in the lead single.  This could be a love song, or at least about a relationship, but it seems a tad morbid and confused with references to bleeding and crushing (but also dancing?).  It breaks up the storyline we had going so far, but it could be considered the title track because of some imagery of an arrow during the epic bridge: “Hey now, you’ve got a clean shot to pierce my heart.”

As we venture into the second half of the disc, we start to hear the Radiohead influences creep in (get it?).  Purists may gripe, but it’s ok.  Influences are good!  ‘The Holiest of Thieves’ features some nice stereo vocals, and electronics.  Just when you think you’ve got this song figured out, the guitar melody jumps to the bass and even the vocals act surprised with a chorus of “Oh! Hey! Stop!” There is a tension in this song as if we’re waiting for it to break wide open, but it never gives in. It could be simply because I am writing around Easter time, but this might refer to the crucifixion or at least the garden, especially in context with the next song, ‘A Thousand Winters Melting.’

Don’t be turned off by the Fall Out Boy-style drums at the start of this song…soon soothing piano and strings move it along.  We could be back to the story from the opening trilogy as we start to hear the voices we were listening for.  And finally the Voice is singing to us a melody of love: Winter is melting and spring is coming…This easily could have been the final track, with its uplifting chorus and sounds of completion, but just because love has found us, does not mean life is all peachy now.  Alongside the joys, there are struggles to endure.

Over the next few songs The Myriad really flexes its muscles, though the vague and wandering lyrics continue, and there are sparkling musical gems.  ‘Throwing punches’ features some fantastic choral work and feels like it could fill a cathedral with spaced-out drum machines.  It could be a coincidence, but there is a definite Philip Glass-esque piano riff in the middle of ‘Stuck in a Glass Elevator.’ This fantastic closer has a distinct Kid A feel and finishes with a flourish!

Meandering and almost restless, the lyrics here bring little.  Nevertheless, the music does its duty and drives With Arrows, With Poise home.  Every song is punctuated with sweeping synths and atmospherics, as well as plenty of experimental guitars and electronic noises.  There are layers and layers of instruments, both stunning and entertaining to the ear.  An elusive album that keeps you listening with reason to come back for more: you might have missed something during the first spin, but you keep hearing new somethings through the fifth or sixth.

Sounds similar to: Muse, Radiohead, Coldplay

Written by: Stephen Berry