Amps for Christ is the long-running solo project of California-based Henry Barnes, former head of metal/hardcore legends Man Is the Bastard and offshoot Bastard Noise. However, this is anything but the harsh noise Barnes was recognized for in his previous work. Amps is a polyethnic mixture of traditional American and Celtic folk with traces of Indian instrumentals, overridden by electronic backdrops and mesmerizing guitar riffs.
Amps for Christ have been releasing music and accompanying artwork for almost two decades. Their first release since 2006, Canyons Cars and Crows, is both perfectly modern and traditionally authentic as a hybrid electro/rock/folk album can be.
The first three tracks are surprisingly both restrained and pleasant. The intro to “Sailor’s Searching” sounds like it could have been an Eric Clapton deep-cut, and the timid, muffled vocals draw you in for a really pure and mystical piece. “Miss You Mother” is a mournful instrumental track that exemplifies Barnes’ raw musical talent.
Though not outwardly described as Christian music (withholding the obvious reference in the name Amps for Christ), Barnes adds an extremely strong faithful vertebrae to much of his collection. On “Earth Is Spinning,” Barnes returns to his past preaching about loving yourself, your neighbor and most importantly, the environment: “When the water starts to rise / Will we see through all their lies? / Will it really be too late / When New York City is a lake?” This theme is brought back in “Barely Breathe” where he proclaims “Through it all love is still king / Love your neighbor, he will save your life.”
My favorite track on the album, “All Messed Up,” is a bluesy track with old school vocals and a killer bass line. It doesn’t fit in anywhere on the album, but I guess nothing really does. “Everyone Drives” is another interesting piece, backed by psychedelic guitar riffs, but drawn out with dark and raw vocals.
Canyons Cars and Crows has more Celtic influence than most of Barnes’ past work, bagpipes and Celt-folk anchoring “Chieftains I,” “Cheiftains II” and “Scottish Country Dance.” The tracks are synthesized enough to make traditional folk seem cool, yet are so repetitive and loop-based that they ooze with authenticity.
Between “Cheiftains” I & II, however, lies “Hills of Padua,” which I assume has some artistic meaning, but is absolutely painful listening. It makes me feel like I’m involved in some freaky performance art that ends up with me in an insane asylum and it sort of screwed up the entire album for me because it was such a horrible intermission.
Despite my disdain for “Hills of Padua,” Canyons is a really interesting album with a ton of high points.
Rating: B+
