Don't get Purpleflowers confused with Bloodflowers. Bloodflowers is the new dour-faced goth-pop album from The Cure. It points to despair, hopelessness, and celebrates heartbreak with indulgently vast soundscapes. Purpleflowers, on the other hand, is cheery, hopeful, positive-thinking evangelical pop.
Lead singer Saskia Kidd has that accessible, Top 40, sweet-voiced style that recalls Sarah McLachlan, but her lyrics are interested in something other than adolescent love affairs and "do it to me one more time." She's got "the joy that lies ahead" on her mind. Just about any of these 12 songs could find a happy home on contemporary Christian radio stations, offering lyrics that are somewhat more exploratory than the typical praise-a-thon.
It's clear they don't mean to be a crossover band. If they ever aspire to find a big audience beyond the walls of the church, they'll need to learn more subtlety and be willing to explore new territory, tell stories that don't have simple blatant messages, and write poetry rather than preach through pop formulas. But there is value in sharing your spiritual sentiments with fellow believers, and as far as that goes, Hannah's Prayer does just fine. (Their website announces their mission: "to proclaim the gospel through musical expression emphasizing hope, healing, and grace.")
This sophomore effort dwells on themes of comfort in hard times, affirming God's faithfulness through the good and the bad, even boldly embracing both with a focus on the promise of peace beyond. "Joy and sorrow, come to me," Kidd sings, "Whisper away my wandering heart/ Don't let my fears betray me from the start."
The all-guy band backs her up with a surprising flexibility. They show promise, as comfortable with tin flutes, mandolins, and accordions as they are with electric and acoustic guitars. Backing vocals show there are other talents yet to be heard.
The challenge for any college band is to sound distinct from others. There is some solid musicianship here, but Hannah's Prayer has yet to find that distinctive quality, that voice that sets them apart. While the motif of "What Lies Ahead" suggests that the mandolin player has an R.E.M. song on his mind, the eastern-flavor melody hints at the exotic directions their music might go in future, more experimental efforts. It's the most arresting song on this collection. A touch of muted trumpet in "Time Dances On" spices up the mix; hopefully they'll bring it back for heavier blues in the future. In "Lover's Leap" Saskia's voice sounds like there's a flair for soul just busting to get out. Maybe she'll try stirring up storms next time around instead of merely calming them.
While contemporary Christian bands are a dime a dozen, I have a hunch we'll be hearing again from Hannah's Prayer. If they take a tip from the development of Sixpence None the Richer, who had a similar style in their early days, they might graduate to riskier arrangements, more complicated subjects, ask harder questions, and explore poetry rather than face-value messages in their songs. (Any lyricist, Christian-pop or otherwise, should immerse him/herself in poetry.) Musically, I'd urge them to explore some recklessness. They need to find that sound, that quirk, that voice that belongs distinctly to them.
For now, though, they should find enthusiastic audiences doing what they're doing, offering up pure pop pleasantries.
2.5 tocks
Other coverage for this album
The Phantom Tollbooth 2000Reviewed by Lisa ReidWhat happens when you pick up a CD from an independent band you've never heard of? Sometimes it's a pleasant surprise. Hannah's Prayer is just such a band. With influences ranging from middle eastern rhythms and minor chords ("What Lies Ahead") to alt.country and folk ("Purple Flowers" and "No Bounds," among others), it's impossible to grow tired of this CD. Instrumentation varies from the usual…
