Description
Zion is the third studio album by the Australian contemporary praise & worship combo Hillsong United, released on Hillsong Music in February 2013, under Sparrow Records and Capitol Christian Music Group. Production for the album began in March 2011 in Sydney, Australia. Michael Guy Chislett and band member Joel Houston oversaw production of the album, with the latter serving as executive producer.
Zion is Hillsong United’s most successful album to date, with 34,100 units being sold in its first week. It sold 25% more than Aftermath, allowing it to debut at number five on the US Billboard 200. The album was also their seventh No. 1 on the US Christian Albums chart. The album has sold 169,000 copies in the US as of May 2015. The album debuted at No. 1 on the Australian Albums Chart and has since been certified gold by the Australian Recording Industry Association for sales exceeding 35,000 copies.
Two singles were released to promote the album: “Scandal of Grace” on February 5, 2013, and “Oceans (Where Feet May Fail)” on September 10, 2013.
Cross Rhythms has already reviewed the Deluxe Edition of this fine album so here are just a few comments on the standard CD. Surely one of the highlights is the intimate and haunting «Oceans» sung by the Brooke Fraser-esq Taya Smith. «Mercy Mercy» is equally intimate with a simple and engaging melody. Matt Crocker’s vulnerable and uplifting vocals over a simple keyboard accompaniment for «King Of Heaven» rounds off a truly memorable journey by announcing “You hold the ends of time/ Yet place yourself here into mine.” This album provides such a variety of sounds and moments of creativity that it deserves the huge exposure that it is getting and Hillsong United should be applauded for their subtle but brave changes in musical direction. [Stephen Curry, Cross Rhythms, May 2014]
Zion Deluxe Edition, 2013
One American journalist spelled it out recently. “Over their 15-year history Hillsong United has released a boatload of live albums, most of which sound nearly identical.” Hard though it is to say, considering the Australian aggregation’s huge contribution to modern worship, their live albums have become extremely formulaic. But now, after a time away from the gruelling touring, Joel Houston and co have returned with this studio set which is a complete overhaul of their musical approach and in doing so have released a peach of an album which fully deserves the honour of being the first number one on Britain’s official Christian & Gospel chart. One of the key new elements in the band’s revised sound is the addition to the lineup of keyboard player Benjamin “Tenni” Tennikoff whose angular synth lines bring new colourings to their powerhouse rock guitars while the use of acoustic guitar on a song like «Scandal Of Grace» gives the band an unexpected new folk sound. «Scandal Of Grace» movingly sung by Matt Crocker is one of the album’s many standouts. Matt sings with joyful passion, “Grace what have you done/ Murdered for me on the cross/ The scandal of grace/ You died in my place/ Now my soul will love.” «Oceans (Where Feet May Fall)» with its orchestral opening is equally poetic (“Spirit lead me where my trust is without borders/ Let me walk upon the waters whenever you would call me”). With an intro as gentle as thistledown it builds to a sweeping climax. Other tracks are more immediate. The opener «Relentless» has synth and bass locked into a nagging riff, «Stay And Wait» has a hint of Coldplay while «Love Is War» offers a dazzling variety of synth sounds. Most important of all, the songs have rich potential to be used in the modern Church’s conversations with God. Beautifully packaged, the deluxe version also contains a poster and a DVD which includes a Behind The Scenes Documentary, additional tracks and remixes. To end this review like I began, with a quote from an American journo, “The grandeur, depth, unabashed awe, hope, emotionally and theologically rich worship at the heart of this album is simply beautiful.” [Tony Cummings, Cross Rhythms, March 2013]
Every year we are treated to at least two or three albums of powerful worship released by the groups from Hillsong church in Australia. It can be argued that Hillsong is personally responsible for setting many of the current trends of the modern worship era. Recently Hillsong United (formerly called United Live) has made some major shifts in not only their personnel, but also their musical style in an attempt to remove the tag of “rowdier little brother” that has followed them since they grew out of the youth ministry at Hillsong. After 11 full length albums (including two studio collections), their latest release, Zion, is ready to stake its claim that Hillsong United now stands on its own two feel and it is not just a mere stepchild of the church.
One thing you will notice from the first ethereal chord on the first track is that this album has much more depth and insight both musically and lyrically from their previous releases. The opening track, «Relentless» is a modern dance synth ride that explores and proclaims the never ending love and grace of Jesus. This track makes a creative musical statement right from the get go: “This isn’t your average United album” and if is a message that is certainly welcome.
One of my favorite tracks on this collection is «Oceans (Where Feet May Fail)» led by United new comer Taya Smith. Beginning with a haunting orchestra, this is about the intimacy of relationship that God wants with every one if His children and is one we should hunger for every day. Playing out like a dramatic movie, Taya’s gorgeous soprano vocals help direct the listener through the swell and valleys of this musical journey into a veritable explosion of Grace of Christ that comes at the end of the song.
The best written song on the album is the Matt Crocker led, «Scandal of Grace» which is an incredible exposition of the theology of the cross set to music and Jad Gillies, who arguably has the biggest and strongest voice, gives a rousing take of the Coldplay-esque ballad «Love is War», which is a brilliant piece that sets our struggle to fight to trust God against the backdrop of His grace. «Tapestry» calls to mind «Awakening» from their previous studio album. It is a slow burner exalting God’s intricately woven plans for our lives and «King of Heaven» wraps up the album appropriately by giving the listener a simple, contrite praise song that starts quietly but then ends in classic Hillsong climactic style.
Overall, this is a beautifully written album full of musical creativity and lyrical depth. By the end, I was almost wishing for something simpler, something more… United, with big guitars and warm pads, loud drums and a cliché-driven chorus, but alas, United stays true to their new sound the whole way through. Some of the tracks are too over produced for their own good and typical church worship teams will have an almost impossible time trying to come up with all the sounds to make these songs a reality in their services. That being said, this is one of the best albums I have ever reviewed. Hillsong United has grown up and it looks like God has amazing things in store for them! [Gerod Bass , Worship Musician Magazine, March/April 2013]
> iTunes (https://music.apple.com/us/album/zion-deluxe-edition/995923412)
CD tracklist:
01. Relentless
02. Up In Arms
03. Scandal Of Grace
04. Oceans (Where Feet May Fail)
05. Stay And Wait
06. Mercy Mercy
07. Love Is War
08. Nothing Like Your Love
09. Zion (Interlude)
10. Heartbeats
11. A Million Suns
12. Tapestry
13. King Of Heaven
Deluxe Edition:
14. Arise
15. Mountain
16. Mercy Mercy (Reloaded)
17. Oceans (Where Feet May Fail) (Reloaded)
18. Stay and Wait (Reloaded)
Note: Also released as a Deluxe Edition featuring bonus tracks. A DVD of the concert is also available. As well released in Australia as a 12-inch double LP housed in a gatefold sleeve.
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[youtube_sc url=”RD9nQwAeKks” title=”Hillsong United – Welcome Zion – Full – Zion (Deluxe Edition)” autohide=”1″ rel=”0″]
[youtube_sc url=”k5lWkkGjRaQ” title=”Alejandro Fuentes Cover – Oceans (Where Feet May Fail)” autohide=”1″ rel=”0″]”Oceans,” 2024 cover by Alejandro Fuentes
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