Holy shit. No words could better describe the last two substandard LPs by heralded Christian contemporary artists Jars of Clay, once purported to be their genre's artistic torchbearers. But after ascending to popularity with their critically acclaimed 1995 self-titled release (indie cred: co-produced by King Crimson's Adrian Belew, et. al.), which blended lush harmonies, organic guitars and spacious sampled drum tracks, the quartet regressed into something more ass-like. They recorded two albums of standard pop fare, the kind enjoyed less by college kids, and more by their 30-something, married and mustached youth group leaders.
If Jars of Clay's mission was to prove that Christians really aren't lame, they were fighting a losing battle. Facing an uncertain artistic future, the Jars had two clear options: 1) make a career-saving pact with the devil, or 2) return to form. With option one foreclosed by the irresistible grace of our Lord, the Jars chose the path less traveled-- and that has made all the difference. Jars of Clay's newest disc, The Eleventh Hour, is triumphant, just as likely as their debut to tug at your heartstrings and stoke your inner-burning flame. Like Lazarus, they arise. Thank God.
The album opens with the edgy pop of "Disappear," reminiscent of their 1995 MTV hit, "Flood" (and its confusing video of a tormented retard stuck in a mud bog). "Disappear" shows more melodic polish and punch than "Flood," though, reflecting seven years of songwriting maturity. The lyrics are as strong and suggestive as ever, radiating with an odd, bubbling joy. Following that is "Something Beautiful," and man, is it!
The album's first single, "I Need You," continues with the passion and intensity that Jars fans know and love, expressing a deep desire for God and harking of "Love Song for a Savior" with the simple lyrics, "I need you/ I need you/ I need you." (And someone needs to get on the horn to McCartney about that lyric, maybe he can recoup some of the plagiarism damages on "My Sweet Lord" for Harrison's estate.) The lyrics of "Scarlet," on the other hand, focus on a more earthly sort of need-- booty (well, not exactly, but it is about men and women). Musically, the song continues with more of the Jars' style of creative, sensible pop-folk with a clever and catchy result. It's probably the strongest track on The Eleventh Hour.
I don't know what woke these guys up; maybe it was the tragedy of September 11th, maybe it was some sort of revelation. Maybe someone in the Jars camp just got sick of biting the fat one, what with the acoustic chaff on "If I Left the Zoo." Whatever it was, their return from their three-year hiatus and seven-year swamp is more than welcome-- it's positively refreshing, a fragrant and pleasing offering to the God of Abraham, Isaac and Jacob. The Lord may reign over the heavens, but The Eleventh Hour proves that Jars of Clay still rule over Christian rock.
