My excitement could hardly be contained upon hearing Code of Ethics would be releasing a new album - particularly because it was rumored that this new project would mark a return to the band's euro-synth roots. I am proud to say, I have not been disappointed. In fact, I will go out on a limb and state this is my favorite album of 1999 (so far). Blaze is not only a giant leap forward in Code's musical expression, but also the most progressive worship effort I have heard to date. Blaze is in its entirety praise and worship, but to call it strictly a "praise and worship album" would not do it justice. Unfortunately the term "praise and worship" has come to imply a certain static musical structure and a specific genre of music. Perhaps it would be better to refer to Blaze as "worship oriented" recording, for while each and every song is designed to praise and worship the Lord, there is nothing static, simplistic, or repetitive about this album. Once again, Code of Ethics offers music that combines both intelligence and creativity, as well as offers a whole lot of fun.
Certainly, "progressive" worship is growing in popularity, with acts like Sonicflood and Deliriou5?, among others. However, Code of Ethics takes things a step further still: creating songs which don't fit into a prescribed pattern of chords and melodies that scream "praise and worship" after the first measure. From years of experience in the synth realm and an obsession with creating very exciting dance music, Code has made Blaze transcend the typical type of worship music. Leader Barry Blaze is known for his talent for crafting strong pop hooks and for infusing his music with mood and substance. In fact, Blaze takes all the musical jazz of Visual Paradox and Code's self-titled release and springboards into an end-of-the-millenium hyper-dance format akin to World Wide Message Tribe. There are little traces of the Tribe's influence - e.g., the rapping on the bridge of "Exalted," the hip-hopping "pick it up" in "Father," and the crunchy guitars that bleed out everywhere. Still, there is a distinct enough signature Code sound present as well - from the subtle guitar tones on "Psalm 19" to the screaming vocals on "Here Is My Heart." Barry Blaze's outstanding vocals pour all over this record like honey, proving that he is one of the most under-appreciated singers in Christian music. He can pull it way down to a smooth purr (see "Move Me") or yell out "Jesus" with raw passion ("My Everything").
And then there's the music! Blaze has a little something for every mood. It kicks off with the supercharged "Hallelujah 2000," co-written with Ian Eskelin (All Star United), who has his own impressive techno credentials. This is a prelude to the worship, which talks about today's generation and their habits, pointing out places that they match nature of worship; and a rebuke to those who say you can't dance and be God's servant ("Even though we like it loud, we'll always be a Jesus crowd"). On this cut, the tempo is fast, driven by strong, electronic, Euro-pop rhythms, with a bit of distorted guitar adding to the mix. The same can be said for "Father," easily my favorite track on the album. But there are also a couple slower tracks for contrast; "Move Me," also co-written by Eskelin, and "Still You Love" are meditative, contemplative, with enough of a pop edge to make them suitable the radio as well as the church. Synthesized strings play over the darker, brooding keyboard line that Code has become famous for, especially on "Pure And Holy." This is one album that doesn't slow to a crawl by the end. On the contrary, "My Everything" caps it off with overt guitar riffs, heavy synth beats, and punch-up vocals that make you want to throw your head back and scream in praise.
Most of the songs are collaborations between Blaze and his producer, Sal Salvador, who's most known for his remixes of the band Jesus Music. Blaze's keen sense of what works in synth deftly blends with Salvador's ability to create full, well-rounded electronic pop with a distinct Euro edge (because of course, the best techno comes out of Europe). The result is an original worship album, one that doesn't rely on reworking church standards. In fact, aside from the fact that a verse from the ubiquitous "I Love You Lord" is used as the verse to "Here Is My Heart," the only cover is the Vineyard's "Psalm 19," but even there the melody is twisted beyond familiarity. Not to mention, the song itself is not meditative, but loud, an interesting change in and of itself. In true Code form, Blaze does most of the guitars and most of everything else himself. However, longtime drummer Rick Brainer returns to furnish the percussion, and Salvador lends his talented bass playing to augment all the programming.
Of course, following the expectations of worship, Blaze is overt in its lyrical expression. That said, the remarkable thing about the songwriting is the originality of the songs. They have a complete and unswerving focus on worship in both word and experience, and are obviously written from a heart that wants to love God but won't use tired clichés and false emotions to say so. This is apparent on "Hallelujah 2000":
...and we scream: Hallelujah to the King Drum machines are rumbling Even though we like it loud, we'll always be a Jesus crowd Hallelujah to the Father Every sister, every brother Lift your spirits to the latest hallelujah sound.
The heartfelt and clever choruses of "Exalted," "Father," and "Better And Better," are strong and centered on worship in a revved-up way. On the whole, vivid emotions and blatant truth speaking are characteristic of Blaze. It would be awesome if some of these songs make it, unaltered, into churches - I'd be there bright and early for that!
Truly, Blaze is overflowing with modern Euro-dance as well as that distinctive, underlying Code moodiness. This project is a project for those whose prefer electronic powerhouses (such as Echoing Green or World Wide Message Tribe), as well as for anyone who finds regular praise and worship music languid. Personally, I have been re-inspired and moved deeply by this album, in an unexpected way. If Blaze is an example of where Code of Ethics is headed, I eagerly await the future.
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