Schlereth strikes a playful tone from the opening track, "Bees," longing for that which every believer should have. He likens their tireless work ethic to gather and spread to our desire to bring the sweetness of the Kingdom of God to earth -- to our neighbors and communities. Atop acoustic guitar strums and chiming bells, he intones, "Oh, to be at work for your kingdom / To make life sweet for the people around me." It's a laudable life goal we should seek to emulate.
Some of my favorite lyrical moments come from "Lord of the Sabbath" and "Hands Down." On the former, Schlereth reminds us that, "What's the posture of Sabbath if it's not 'you're enough' / That we can unclench our hands and our jaws / And rest in trust." On "Hands Down," we are encouraged to remember, "Hands down you can rest in this / God is infinite in his resources / You don't need to defend yourself or to horde your wealth / If you're feeling tired, just put your hands down."
It's striking how much Kevin's voice reminds me of Smalltown Poet's singer Michael Johnston, particularly on up-tempo songs like "Hands Down" and "Holy Ground (Kevin's Version)." Elsewhere, thanks to the delightful female harmonies of Miriam Weddle, I'm taken back to the early 00s, when bands like Siler's Bald, Caedmon's Call, and 5 O'Clock People were at their peak. Weddle's charming voice (on "Lord of the Sabbath," "Working Our Hardest," "For the Weary," and "Little Branch," in particular) adds layers of nuance to already sturdy songs. Another one of the album's strengths is Schlereth's restraint. He uses an economy of words within wisely brief track lengths, communicating his ideas clearly and concisely.
That said, Schlereth also knows when to cut loose, saving the longest song and slowest burn for last, driving home his point one final time. "Still Enough to Know" starts unassumingly enough, with finger-plucked guitars and somewhat muffled production. One could get the impression that it's a lo-fi way to conclude the album, but we then get some additional layers from what sounds like a violin synth pad and Weddle's harmonies at the 1:20 mark. Then, for further dynamics, the muffled sound opens up to a cleaner, clearer audio with Weddle taking over lead vocals roughly a minute later. Kevin joins on the second pass over singing the lyrics, "In the stillness / In the formlessness of time / In the void carved by our rest / The spirit hovers / Be still, be still enough to know." On the third time through this section, we're ushered into a full-on rock ending with swirling background vocals, pounding drums, and crashing cymbals. It's an incredibly satisfying way to close a tightly executed record; it's also one of my favorite songs on the album.
Settle In has been a perfect match for where I find myself personally. I need to better understand and celebrate the Sabbath. True rest. Trust. I don't think I'm the only one, which is one reason why I think this album will have staying power. The theme is a needed one and the songs live up to the theme, utilizing whimsy, layers, and brevity to hold the modern listener's attention. Ultimately, what we have with Settled In is a terrific album, one I will be returning to often. Kudos to Kevin Schlereth and his team for what feels like a communal gift to the body of Christ, and a truly enduring gift at that.
- Review date: 10/2/25, written by Josh Balogh of Jesusfreakhideout.com
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