Standing Small's new album: Asleep at the Oars, Dreaming of Freedom

After 3 long years and much anticipation from their growing and ever-loyal fanbase, Knoxville-based Standing Small has finally released their new album, Asleep at the Oars, Dreaming of Freedom.  Frontman and songwriter, Ryan Fletcher, may not be a true vocalist, but he makes a bold move with his falsetto, and it pays off at just the right moments throughout the entire catalogue. And though I find an awkward meter of the lyric at times, the lyrical content is strong and unabashedly honest. Despite these minor flaws, the band has embraced their indie sound and such things can easily be dismissed. The album as a whole is like reading a chapter in the book of Psalms, uttering both pain and praise in the same breath, and taking us on a journey of turmoil, trouble, and ultimately to salvation and redemption.

The album begins with a faint and pleasant piano intro before jumping headfirst into a driving bass and drum that carries us off into the rest of the experience. It truly is an experience- sonically and spiritually- from start to finish. By the second song, Forsaken, I am completely drawn in, thankfully, for there I find not just a glimpse into the album's namesake, but also my favorite lyric:

I'm caught in a love affair, the fruit of which will only bear
A fleeting sense of worth to which I'll soon curse
I'm waiting for the day when you will call me home
And whisper in my ears the things I long to hear
I'm overcome by all the things I know
I'm burdened by the love I have to show
I'm dreaming of a day when we will all be free.

The haunting quality of Man Overboard, and the title alone, impresses upon us a sense of despair and urgency, saying, "Bring me back home... I'm a man overboard."  By the time we reach Call in the Troops, we fully recognize that we are in trouble and in need of rescue. The most folk-influenced song with its almost saloon-like piano, provided by keyboardist Ben Howard, gives us the slightest hint of feeling that there is hope somewhere up ahead. But not quite yet.

Not until we reach Out of Control do we arrive at the climax and descent into resolution. Fletcher couldn't be more honest in saying "I feel so out of control and it's becoming all I know/And I'm overcome with joy as I'm falling to my knees." Releasing us into an easy drum beat and cool electric guitar (Corey Goins and Joseph Dunlap, respectively) before lifting us up once again, the ultimate hope here is that "He's breaking down the walls to show that He's the God of all," and we are allowed to rest and find joy in that knowledge. Restoration and redemption finally occur in Hallowed and Two Hands, the first of which is sung almost entirely in falsetto for the first half of the song. Imagine it sans drums and that heavy bass and it could be a lullaby. They made the right choice, however, with every beat perfectly punctuated. The final song closes the record with peace, the kind we can only find on the other side of despair, the place where God has turned darkness into light. Simply two verses and a chorus- if you can call it that- a line repeated: "May the peace of God wash over all our bones." It is not just a closing, not just a wish, but a blessing.

A band that cares more about ministry than money, Standing Small has offered a free, full-length pre-release download on http://www.indievisionmusic.com/. Find more from Standing Small on Facebook, Myspace, and their newly designed website: http://www.standing-small.com/.

I recently had two separate conversations with different recording artists, one of whom is in an up-and-coming band who've begun getting more recognition and radio airplay in the past year, another of whom is semi-retired now but was once a member of one of the biggest bands in the Christian music industry. These conversations fascinate me because each person holds a vastly different perspective on the industry at this point in their careers. It goes something like this.

The first person stressed the importance of experience, touring and ticket sales. Smaller bands want to get on board with bigger bands so that they can gain some recognition and credibility, and as a result, to grow their own fanbase and further their career. But the bigger bands want to bring on bands who already have that. They need to know that the smaller bands may even help them sell tickets-- in all markets-- meaning, not only are they a quality act, but also that they already have that sought-after fanbase. It's a catch-22 that makes up one reason why starting out is so difficult. It's the same way in any job market. You need experience to land a job, but no one will hire you because you don't have experience. This emphasis is industrial and impersonal, but necessary to "make it." Before I move on, let me say that I find no fault with that view. It is wise advice.

The other person is someone who I've been acquaintances with for years, have seen play in arenas and tour internationally. He's now involved in a smaller, independent project, and I went to see him a few weeks ago at a small church on the outskirts of town. There were about 100 people in attendance. I was honestly a little concerned over the lack of publicity and people there, but he said something so profound to me. In the most gentle way, he said, "It was a good show. It felt like the people who needed to be here were here. We're just so over.....the egos."

Let's be honest. We've all traveled 6 hours to play a show for 5 people, and it can do a bit of damage to a spirit. I think for an artist starting out in this industry, you've gotta be ready to put up a fight. You've gotta be relentless. It's awful, and I don't know why we put ourselves through it. But we do, and we hope that somewhere on the other end peoples' lives will somehow be touched. So whether you're just getting your first single on the radio or you've had 10 #1 Hits or you're just making $10 in a tip jar, what is it that you concern yourself with?