"Youth of the Nation" by P.O.D. from Satellite

"We are, we are [we are] the youth of the nation," may repeat as the chorus, but it's on purpose in this song comparable to Superchic[k]'s "Hero." (It came out about the same time on Satellite, in 2002.)

The verses explore lives of today's commonly depressed youth and what comes of it. The first verse starts with a boy's tale of going to school like he did every day and getting killed in a school shooting, then questions why the shooter might've done it. It makes the song's beginning of children laughing probably in a schoolyard all the creepier.

And the heart-wrenching tales continue from there, reminding the listener of how many of today's youth actually feel. I've never been clinically depressed, but even I've had a point when I realized virtually no one would miss me at school if I never went back.

I can name on one hand the number of actual rap-style songs that I like enough to eagerly listen to them. This is one. The "wet" (resonating) sound of the song and echo meld with children's voices and the rap versus to even haunt hearers who usually dislike rap.

The individual elements of this song are pretty normal, like Sonny Sandoval's vocals and the Nu metal music that might bring Linkin Park's "In the End" to mind if you think about it, but they're different. This Christian song's better than that secular one, in my opinion.

The way P.O.D. put the music and vocals together, though, causes "Youth of the Nation" to rise above average. It's definitely rapcore-ish metal with synthesized elements, but if you're the type who focuses on lyrics, you don't care. Even the overall sound just accents the influence of the song.

Okay, so the song's dark. If you don't like that, you probably shouldn't be listening to the youth band P.O.D. to begin with. With a name that stands for "Payable On Death"—a reference to Christ's death—I don't think they tend to focus on cute fuzzy feelings and bunnies, unless they have sharp, pointy teeth associated with them.

The emotions of today's youth displayed in "Youth of the Nation" are as true now as they were five years ago. These are the youth of the nation—and that leaves the listener wondering, what am I gonna do about this?

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"The Ghost Woman and the Hunter" by Lacuna Coil from Comalies

"Staring in the sun… no rays down on me…"

Yep, another ghost story. One of if not my favorite song by Italian band Lacuna Coil, "The Ghost Woman and the Hunter" is the softest song I've heard by them. …Actually, it's probably comparable to "See Me in Shadow" in style, though the sound is different enough that you probably won't hear that unless you're looking for it.

Okay, the song's still normal Lacuna Coil, bit tricky to follow with an odd lyrical flow. Not that it's bad—it's just one that takes some major thinking to put the lines together in any sense whatsoever. Cristina Scabbia sings prettily if you like her voice, and there's no screaming in this song.

The questionable part of this song is when the ghost says "calling on your sins, you're here in my dreams." Evidently the Ghost Woman's hunter "wants to be" her. But he's passing beyond her so he'll never see the tears she cries. It's interesting, from the ghosts perspective. (I actually find it kinda cute, a lovesick ghost lamenting her living lover. Um… okay, I'm weird.)

The music is the usual lovely, well-mixed resonating mix Lacuna Coil does, with their usual instruments. It's a sound that can grow on you, as I found from experience.

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Lyrics: 4/5
Music: 5/5
Vocal(s): 4/5
Overall: 8/10

"Broken" by Seether (feat. Amy Lee) from Disclaimer

Watching an Andromeda fanvid—yes, I'm a sci-fi fan (and gamer) despite my gender—I frown and look for the video credits. That sounds like… Indeed, it is Amy Lee in this song I vaguely recognize from my little exposure to the radio.

The acoustic guitar-based rock reminds me a bit of Jars of Clay, though Seether's singer isn't nearly as good as that other band. Nor is Seether Christian. But at any rate, the music flows prettily, more relaxed on the verses and rising on the chorus. Amy Lee compliments the singer of this South African band well.

"Broken" covers some of the sweeter aspects to a relationship. Having to be open to someone we love hurts, as does separation from that person. "Broken" refers to both instances. ("I'm broken when I'm open, and I don't feel like I'm strong enough" and "I'm broken when I'm lonesome, and I don't feel right when you're gone away.")

The song's not great, but its melodic sound and the sweet subject matter are refreshing. It's nice to have a song that's not about an emotionally tumultuous breakup or a sexually-charged relationship. It's the normal (probably overly-romanticized) pain involved in a steady relationship, and I find that sweet.

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Lyrics: 4/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"Scarlet" by Jars Of Clay from The Eleventh Hour

Admission: when I first heard and liked this song, the meaning was utterly lost on me. I don't think I'd even heard of Nathaniel Hawthorne's The Scarlet Letter at that time. The song assumes you know the book. So, if you don't know the basic plotline, the song's pretty nonsensical.

A woman has a child by adultery in Puritan Boston. (Her husband is not in the country.) Her punishment is to wear a scarlet letter A for adultery on her bosom for the remainder of her days as a reminder of her sin.

"Scarlet" speaks of such a scarlet letter and a refusal to let it hold the wearer down. "This old scarlet letter won't keep me from holding you. And there is nothing you can do. Nothing you do." Besides it being a reference to the letter and how God will hold us regardless of our sins if we repent, it also brings to mind a scene in the book where the woman casts her scarlet letter aside and forcefully appeals to her former lover to flee somewhere with her for them to be together again, since they still love one another. (The preacher, much-loved by the community as a saint, fears to confess his sin, leaving others in the community unaware that he is the unknown father.)

Dan Haseltine sings with his usual direct voice that I believe is a tenor, with a slight echo at some points in the song. Heavier on the drums and cymbals than on the other CDs by Jars Of Clay—a usual situation on The Eleventh Hour—the song is still very much of the band. The guitar-heavy rock melds with one other major instrument that I can't identify, unfortunately, and the song credits don't name it.

The song's short (for Jars Of Clay), a bit repetitive, and dependent on a knowledge of the book, but despite all that it's still one of my favorites.

(More about The Scarlet Letter can be found at Cliff's Notes, or you can download a free e-book from Project Gutenberg.)

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Lyrics: 4/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"Whatever She Wants" by Jars Of Clay from The Eleventh Hour

One of Jars Of Clay's most direct songs, "Whatever She Wants" is still chock-full of symbolism as it evidently speaks of the adulterous woman, "Like a vampire, a parasite."

I call it one of their most direct songs because of a certain line that brings to mind something that would not be appropriate for children. I don't think "when you're up, she's down; down, she's up and whips around" needs any explanation on that level. In context, it's evidently also a reference of the dichotomy involved: "whatever she wanted for whatever you need"—the reversal is extreme. What you do to support her destroys you.

The music of "Whatever She Wants" might be one of the strongest rock Jars of Clay has ever produced. It's a bit stronger on cymbals than many ears may find comfortable, but it's done in unity with the rest of the music rather than in discord.

Dan Haseltine's voice suits this song superbly. It's on par with "Art In Me" for his voice. After Jars Of Clay's previous production of lighter music, you might not expect them to handle rock well, but I believe they've done a surprisingly good job.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 5/5
Overall: 9/10

"Legacy" by Nichole Nordeman from Woven and Spun

"It wouldn't matter much," Nichole Nordeman admits of worldly accomplishments, even of being added to "all the 'who's who's' and so-and-so's who used to be the best at such-and such." Sure, we may long for it, but what ultimately matters is a legacy of pointing to Christ.

Nordeman once again shows her skillful flair for songwriting with "Legacy" on Woven and Spun. Dripping with the conflict of a Christian's life, she's brutally honest to what we tend to care for and what we should care for—and she doesn't exempt herself from that group.

Her soothing alto sings strongly as she includes herself in the questions she's asking her listeners. More accurately, it's in asking herself that she brings her listeners to ask themselves, what do they put their trust in?

Nichole Nordeman has distinctly improved her piano-based pop since such hits as "Wide Eyed" on, for example, her first album. That's not to say the style's changed; it hasn't. It's still not great music; she unfortunately lets her skill at piano get drowned out. As usual.

Piano and violins still provide a lovely background to the soft rock more geared for young adults than teens, though mature teens will likely enjoy it. I did, and still do.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 5/5
Overall: 8/10

"Complicated" by Avril Lavigne from Let's Go

I'll admit, when I first heard Avril Lavigne's "Complicated" on the radio, I thought she was a country singer. (Oops!) Evidently, it was only that edition that I'd heard, since other recordings of "Complicated" don't give me that impression.

"Lay back; it's all been done before," the narrator says to her boyfriend. He's himself alone with her, but he becomes "somebody else 'round everyone else" "tryin' to be cool." She insists he should be himself rather than complicating everything and making a fool of himself. Be honest to who you are; that's life.

For a self-written song by a teen, "Complicated" is particularly good. Many her age would still find the "tryin' to be cool" cool. Avril Lavigne does assume that he's himself with her and not still wearing a façade, though. In retrospect, that assumption might be a hint of the unappealing prideful personality that appears in such later songs as Girlfriend.

While I still suspect Avril Lavigne's voice would suit country music, she does fit this song. Her voice in "Complicated" powerfully expresses her frustration and declaration in this pop rock song as the standard guitars and drums accompany her. The song's nice enough that you might be pleased when it comes on the radio, though you won't necessarily want to pay for it.

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Lyrics: 4/5
Music: 3/5
Vocal(s): 4/5
Overall: 7/10

"Headstrong" by Trapt from Trapt

"Headstrong to take on anyone" probably best personifies punk rock, music aiming for shock effect with foul language and such. Trapt has a "clean" version of the CD, but evidently even that isn't properly edited. The band limits its cussing in "Headstrong" to shit, but it's still cussing… why? There are other ways to express that someone's "full of sh—", and their choice to use the uneccesary direct cuss distinctly lowers their quality, in my opinion.

Trapt at least admits its anti-convention mindset with the implications in the lyrics. In essence, they say they know where you stand. "Back off; I'll take you on!" "This is not where you belong." They'll take you on for countering them. Most people live in a fantasy world, and they're the ones who see it properly. (Hey, at least you can get a chuckle.)

On the music level, it's rock with a bit of rap, something like the chorus of Evanescence's "Bring Me to Life" but of lower quality and with cussing. Ironic that a song that did as well as "Headstrong" can be interpreted as insulting its listeners.

That brings us to the vocalist, Chris Brown, who reputedly can't sing too well in person and therefore probably has cleaned up the recording on his albums. And the screaming wasn't necessary to suit the song. No offense intended to any heavy or black metal fans reading this, but I don't find either a legitimate form of singing. Rap is debatable. Trapt does at least manage to make the rap quasi-singing in "Headstrong".

The song's still catchy, but it would be a lot better if someone else sang it—and without the cuss.

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Lyrics: 2/5
Music: 3/5
Vocal(s): 3/5
Overall: 5/10