Unearthed Music Reviews (2002)

Sixpence None the Richer: ‘Divine Discontent’: A richer Sixpence (2002)

Christian music’s Sixpence None the Richer returns after their tremendously successful self-titled album (which spawned the deservedly overplayed hit “Kiss Me”), sounding more experimental but strangely radio-friendlier than their past albums. Their spiritual messages are subtler now, too; there’s none of the agonizing content similar to “Love, Salvation, Fear of Death” (from the excellent Collage compilation album).

It’s worth the long wait and it shows a natural progression from their previous offering. Which isn’t to say that they’ve departed that drastically from their string-heavy, alternapop edginess; they still retain that ethereal feel, only this time they’re more musically adventurous.

SNTR still makes memorable tunes, and Leigh Nash’s angelic vocals play a huge part in that. But credit must be given to multi-talented composer and musician Matt Slocum, who played six instruments in the album. He still writes majority of the band’s songs. All the tracks are insightful, especially “Tension is a Passing Note”, which uses some really interesting metaphors: “Do I murder us putting pavement in my veins/ Shooting in that special heroin for the seeking and displaced.” This specific song is arguably the best one in the lot, as it showcases Nash’s lilting voice amid soothing violin and cello arrangements.

“Paralyzed” is one of the faster-paced and decibel-heavy stunners, proof that the band can still rock the proverbial house. Their cover version of Crowded House’s ‘80s hit “Don’t Dream It’s Over” seems destined to be overplayed in movies and teen-targeted TV shows.

SNTR doesn’t preach in-your-face spirituality as much anymore, and sounds more fun to listen to. Their uplifting messages are still intact, but listeners are now challenged to really get them for themselves.

David Gray: A New Day at Midnight: Different shades of Gray (2002)

The follow-up album to his critically acclaimed White Ladder album is a strong one, fueled by Gray’s masterful union of mostly spare but catchy instrumentality and convincing lyrics. Let’s not forget his distinct vocal tag, flavoring each song with hollery, heart-manipulating range. His music is largely a heady mix of folk coupled with various pop touches in some songs, and in some tracks, very minimalistic but charming dabs of electronica. An example is the enchanting “Caroline”, which has very infectious melodies.

Lyrically, the songs are mostly relatable adult-contemporary material. Gray sings about relationships lost and found, ongoing and unrequited, and does it in a manner that doesn’t evoke sappiness. His words could’ve been plucked from the minds of his listeners; he taps into something universal, which could also be his personal experiences, and expresses them profoundly. Tracks like “

Easy Way to Cry," “Freedom," and “Long Distance Call” exemplify introspection. These twelve precious tracks are imbued with permeating energy by the comfortably sensitive singer.