When you’re accustomed to a band releasing original material, a cover album is always a risk. When the album is a worship album, it’s an even greater risk – especially when some of the songs come straight from the CCM world.
Of course, some risks are worth taking and Foreverlin proves that with their worship EP, You Remain.
For those unfamiliar with the band, the group’s take on the classic Doxology serves as a proper introduction. With pounding toms and grainy guitars, the tried-and-true verses enter in. It’s a unique take for sure, but it’s not incredibly impressive in itself. However, this isn’t a simple regurgitation of the original. At four minutes and length, the second half introduces another layer of artistry.
The title track that follows is the only original on the EP. It’s a poppier track, with some degree of ambience. It’s upbeat and radio-friendly, without being too shallow. It’s very reminiscent of the kind of bands that you’d find on Come&Live six years ago.
Good, Good Father is a song that sure manages to play the field; it falls amid others whose original authors are difficult to pinpoint. Industry logistics aside, Foreverlin’s take is mellow and acoustic. Strings and some percussive elements come in halfway through that remind me a bit of My Epic’s Broken Voice EP. Interestingly, the minimalism here feels more humble and the vocals aren’t as forceful or strong as the radio version. It really changes how the lyrics are delivered and I feel it takes focus off the band’s ability and point more fully to God.
Come as You Are is indeed a cover, though I had to look up the original for a proper comparison. Overall, it’s not all that different from the original but does seem to miss some of the vocal passion. It’s a solid rendition but just has a different mood present.
Here’s My Heart is a song I’ve heard plenty of times on recent Sundays; in itself, it’s meant to be a powerful and emotional song. Foreverlin manages to keep the emotion going for the most part, though I do wish there was some more force in the vocals at points. There are several moments where vocalist Peter Blomberg opts for a lower note where a higher one would have been more appropriate. However, the drumming on the song does build and this thankfully leads to crescendo of all instruments and vocals.
Overall, Foreverlin did a great job on this EP. I was a bit hesitant after seeing some of the song titles, but this isn’t a CCM album. As I hinted at earlier, this is a group that’d fit nicely on the classic Come&Live roster, with artful, ambient indie-worship. I’m definitely excited to take a look at their original albums now.