| Musical Style: Metal/Hard Rock | Produced By: |
| Record Label: Roxx Records | Country Of Origin: USA & New Zealand |
| Year Released: 2022 | Artist Website: |
| Tracks: 11 | Rating: 75% |
| Running Time: 51:18 |
Spring of 2022 Roxx Records sophomore album Only Human from We Are Resolute has some positives, including a compelling roster of vocalists - Dale Thompson (Bride), Chaz Bond (Biogenesis) & Benjamin Birdsong (The Birdsongs) - and songwriting when at its best is on par with the 80% Angelic Warlord reviewed 2020 debut full length Shine The Light (also Roxx). However, it suffers from spotty production, rhythm guitar comes across thin and low end without defining presence (at least when placed alongside Shine The Light), and musical inconsistency, perhaps production is a contributing factor but a few too many songs fail to garner my full attention with repeat play (again, when compared to the debut).
We Are Resolute remains the project of guitarist and keyboardist Bryan Carman and guitarist, drummer and percussionist John Mokma, whom align with a host of guest performance to approach all star project territory: bassist Tracy Ferrie (ex-Seraiah, ex-Whitecross, ex-Stryper), celloist Troy Thompson (Bride) and drummer Michael Feighan (ex-Whitecross, ex-King James). Advantage to carrying over the same lineup between albums (noting how Dale Thompson also fronted Shine The Light) is Only Human maintaining a similar blues based metal and hard rock affinity, albeit taking a more pronounced acoustic stance as opposed to Shine The Light.
Opener “The Almighty” represents all that works well and does not with Only Human. It proves a hybrid metal and hard rock cut, up-tempo with muscular hooks but also ceaseless in galvanizing its length to knife edge guitars as Dale soars and wails vocally with the best of them (the falsetto to start makes you wonder when he is coming up for air). Yet, production thinness proves problematic in holding back the listening experience or at the very least takes away from the song realizing its full potential. Lyric snippet:
He holds the keys to death and Hades
Once was dead, now He’s alive
I wrote down what I had seen
What is and what will be…
Fell at His fee, like a dead man
Outstretched hand, don’t be afraid
He’s the first and He’s the last
He is the living one
Upon hearing follow up cut “Light Of Day” for the first time initial impression of opening seconds is Dale singing in a lower register, but wait, hold on… that is actually Chaz Bond instead! Bond, as always, impresses with his deep and resounding mid-octave style, complementing a moody and affecting track acoustic laced its first minute but with arching rhythm guitar rest of the way as poignant melody rises above the daunting scene. Similar to “The Almighty”, “Light Of Day” would sound at home on Shine The Light. Lyric snippet:
So put your past far behind you
Step into the Light of Day
You’ll find freedom everlasting
A life you never knew
A life that’s made brand new
Your hopes renewed as the journey’s just begun
Now for the first time you feel the warmth of the sun
Not so “The Waves”, a diluted three and a half minute melodic hard rocker with swirling guitars and distant acoustic traces I struggle to embrace long term (not terrible just not memorable to these ears). Likewise, albums title track, running the gamut from opening acoustic moments to pulsating guitars with a bluesy edges, also fails to bring the forthright hooks to dare stick with me. Again, am I out of line to suggest both might further stand out if backed by fuller production?
A step up with “You Love Me”, a signature ballad with equal parts classical keyboards and mid-tempo guitars to draw in with full on melody and Dale’s moving vocal performance. Refrain in particular compels in decelerating to a crawl as militant drums take control. This reminds of a Bride ballad but with a heavier edge. Lyric snippet:
When you came and died for me
Give Your life so I could see
All the love
The love you had for me
When I think about that day
The sacrifice that You had made
You paid the price
The price to set me free
With cello to start ensued by acoustic guitar, “Heaven” maintains the ballad themes but even slower from reveling in the low key and reserved in reaching for heavy rock territory but also touching upon some Country Western themes (in a positive sense). Melody again plays a leading role in helping “Heaven” place among albums finer cuts. Love how cello makes its presence felt throughout the entire composition.
“Out Of Time” might be good with its mid-tempo acoustic hard rock stance but an element of predictability also rears its head. For instance, over albums first half the group dips into the acoustic well a few too many times for my taste or at least to the extent it potentially wears thin. That said, song has a solid melody and is far from bad, so I can see others embracing it. Lyric snippet:
You’re running in circles
Chasing your tail
Getting things done
But you’re going nowhere
Time keeps marching on
The sands of time fall
Looking back on your life
Where has it gone
I am also on the fence with “Fear”, realizing a firmer stance with its bottom heavy bass line and decided guitars to rank with albums heaviest. That said, despite another articulate melody, song also reveals a predictable slant in lacking that extra dose of creativity to separate itself from the rest. Again, merely good but not a showstopper either.
The same applies with “Who I Am”, an acoustic rock piece that despite a female vocalist in Lydia Carman with a voice akin to Sandie Brock (Servant) fails to register with me. In a like manner is closing number “Jesus”, also articulated acoustically in adding in and out over its brief two minutes in continuously repeating the phrase ‘His name is Jesus…’
Which leaves us with one final song “Three Days Later”, a laid back and earthy four minutes of bluesy hard rock in which crawling momentum (for its verse sections) aligns with an explosive vibe (upon acquiring its victorious refrain). Perhaps it is the bluesy vestiges or much needed up-tempo veneer many of albums cuts are lacking, but “Three Days Later” captures much of what made Shine The Light a solid release. Lyric snippet:
Three days later
The stone was rolled away
Three days later
Hoe rose from the dead
Three days later
He conquered that grave
Three days later
So we could live again
It could be the proverbial sophomore slump rearing its head, but feel I get from Only Human is above average to very good but could be better. When placed alongside Shine The Light, I miss the added layer of production polish and aspect of vibrancy that goes in hand. Songwriting when at its best is on the same level, but - as already noted perhaps this pertains to production - but a few too many songs lose me to extent I am forced to hit the skip button. That said talent is not lacking when factoring the plethora of topnotch musicians and vocalists to grace the albums lineup. All things added, I gravitate to the debut but also look forward to a follow up release reflecting that much more improvement.
Review by Andrew Rockwell
Track Listing: “The Almighty” (4:03), “Light Of Day” (4:34), “The Waves” (3:33), “Only Human” (3:23), “You Love Me” (4:02), “Heaven” (4:07), “Out Of Time” (3:38), “Fear” (3:53), “Who I Am” (4:25), “Three Days Later” (3:44), “Jesus” (1:55)
Musicians
Dale Thompson - Lead Vocals
Chaz Bond - Lead Vocals
Benjamin Birdsong - Lead Vocals
Lydia Carman - Lead Vocals & Keyboards
Bryan Carman - Guitars & Keyboards
John Mokma - Drums, Bass & Guitars
Tracy Ferrie - Bass
James E. Blackburn - Bass
Troy Thompson - Cello
Kenneth Rasmussen - Drums
Michael Feighan - Drums
