Let's Not Forget the Story

Sounds like … pop/rock on the order of Downhere, The Afters, Starfield, By the Tree, and ColdplayAt a glance … it's unfortunate the production isn't stronger or crisper for their national debut, because Foolish Things does demonstrate strong melodies, skilled musicianship, and thoughtful Christian lyricism that isn't clichédTrack Listing Who Can Compare This Love Fight Spirit Come Be Still Capital P First Lie Can't Believe It's Not Home Hey You Find Your Way Back Forgive Me

Talk about artist development: Colorado-based Foolish Things reportedly became a band before anyone could play. The five friends simply wanted to serve their youth group after inheriting the task of leading worship from the graduating upperclassmen. After stepping up and developing their skills, the group began receiving invitations to play throughout their area. And that was all before 2000, when Foolish Things won the annual Music in the Rockies competition. They've only improved since, recording demos, booking tours, developing contacts while in college, and then catching the attention of Inpop to release Let's Not Forget the Story.

Taking their name from 1 Corinthians 1:27-29, Foolish Things feels called to challenge believers to set themselves apart from the world, as outlined in "It's Not Home." They're also passionate about reaching out to non-believers, encouraging fans to bring three non-Christian friends with them to concerts. Hard to say how well their songs connect with the secular crowd, but there's impressive maturity to the songwriting, using overtly Christian lyricism without relying on clichés and platitudes to address everything from purity ("Captial P") and self-image ("Can't Believe") to evangelism ("Hey You") and worship ("Who Can Compare"). Especially poignant is "Forgive Me," which thoughtfully and humbly confesses insincerity in prayer.

Given their relatively short history as musicians, Foolish Things plays surprisingly well with exciting hooks, fills, and flourishes aplenty, plus a vocal somewhat reminiscent of Marc Martel (Downhere). The guitar rock of "Be Still" and the soaring build of "Can't Believe" reveal a band with talent for writing and musicianship. Unfortunately, the mixing is rather muffled and subdued, more typical of an indie project than the work of producer Jason Houser (who did far better with Matthew West's debut). But looking past the production quality, there's enough here to demonstrate potential for excellence.