Cross Nation have teamed up with His Creation Records again to bring you the 2nd instalment of their “Sound Of His Nation” compilations. Back with another stellar lineup of artists/producers, this is must have album!
Volume 2 opens up with “Control” by Dan Garay (formerly Toxic Emotion). The track is on the downtempo side of EDM with chilled beats and vocals before the synths and percussion build into a heavy bass and sax driven Future Bass drop. The lyrics are very relatable, speaking of the doubts we all have sometimes but re-affirming the hand of God on our lives.
“Sometimes I feel like You’re not really there but You are. Doing Your mystical works in my life. Got everything in control”
Continuing the bass-heavy, chilled sounds is “Portion” from Jeremy James Whitaker. The simple vocals work really well through switching up the melodies used to sing the same sections to vary things. Sat over the stripped back beats and synths in the main drops and with the retro-sounding synths utilised in the breaks, this is an atmospheric, heartfelt track.
“I’ll keep leaning into You, I’ll keep holding on. You are my portion”
Next up is “Trombeta” from Kevin Aleksander. Raising the tempo with it’s Samba Percussion and infectious brass hook, this is full of carnival vibes that will get you moving.
“Confidence” by Bryson Price (feat. Grant McCurdy) slows things down again. The etherial feel of the intro quickly drops into staccato beats and synths while the lyric describe that quiet confidence that we can have in Jesus in the face of doubters.
“Some call it silence, some call it empty lies, I call it confidence in the Cross of Christ”
Increasing the BPM again is “Hope” by Retain (a Dutch producer who we’ve previously featured on the website with his remix of “No Longer Slaves” alongside fellow Dutchman Reyer). “Hope” uses chopped and heavily re-pitched vocals to create the melodies while the catchy bass and swinging high-hats guarantee you’ll be nodding your head along! I’m not really sure if you can pinpoint a genre for this track as it seems to pull elements from various styles of House alongside some UK Garage elements.
“Let There Be Light” from Judah Banke is probably one of the more explicitly worship tracks. Its commercial feel, reminiscent of Hillsong Young & Free, would work really well in a Youth worship context.
“So speak over the deep of my soul, I hear you, let there be, let there be light. So that the lost in the world will see you, let there be, let there be light
Next up is “Awakening” from Hardstyle Producer Xonar. The track opens up with a middle-eastern influenced melody before the pounding 4/4 beat kicks in. This intense drop continues before the track heads into a big, atmospheric break with chanting vocals and cinematic chords. A synth hook then switches up the feel of the rhythm of the track, adding more bounce and energy before a key change lifts the feel of the track again.
“Runner” from Levi Whalen (feat. Taylor Anne) has a distinctly 80s electro vibe to the intro synths that sit over the 4/4 beats. The beautifully sung vocals lead into the break before the track builds into a more trance/progressive sound with the floating vocals complimenting the hook. The lyrics seem to speak of someone running from something while the whispers of God call them back to the Father.
“Runner, why are you so from home…..Whispers in your heart…..Won’t you run to the Father…..”
Daniel Gale’s “Dawn” (Featuring Jeremy James Whitaker), brings the pace down again as the album returns to a more Future Bass sound (stylistically reminiscent of artists like The Chainsmokers and Cheatcodes). The slightly husky/indie vocals sit really well over the instrumental on this as they describe the desire of the writer to realise the dreams held between them and the subject of the lyrics
The album finishes with “Morning” from Koreskape, another progressive house edged track featuring the genres trademark big synths and chords. The change up in styles in this track at around 1:00 is a really nice surprise as it brings in a more dubstep feel with saw bass riffs and staccato/chopped rhythms. This continues through the rest of the track as it builds in 4/4 before the switch in the drops.